; , iis 
Seyi} : ; if it 
Lareit i " acite 
of : ahi) Ah ape pattie 
Poa an area 
apt ahtees 
+ 3 . aati tage 
‘a 7 , rt badhititi tenes 
* seriperes sy 
ati | : : : : Hk ooo ea 
ah tates ‘fe : : : L Hp heeagiyt 
t} t erase pease ; : ; : yt rites 
petit Hat vitit 
nietasiet tye : : ; f : 
apcieHi seat gsteeten tate ate 
iat . 7 pee r . 


a 
ue 
* 


iy 
pyeserene cists 
; reine 


it 


syset7 is 


Tet 


ite iret th hit ; : note 
: Teast ibe ‘ : { : t f i 
Sista se bitte 
ey bgbetsintai bib ceetstspbe 
ite hy steely 


oiaceae 


t3 tH 
bt i 
cae 
it orth 
th iit ceteris ; : td 
7 rat * i $ i 
pecan i sifusictiy 
t sP0) theif : : patter 
ev The . : 
by peaertyast i fields 
i faiths 


Skit 
re tatshdt int 

site t 
+ Hus ieteirty ‘ + 
eee te 
rake Tyegieay tii 

ahaces its 
mrigsiies 


rae 
4) 
i 


Spaicetitesstes 


sf 
sik +t isrbetveys 


% Preset tt) 
a : stat fut iyi . 3 


ae 
tierargieneddisid breathes 
SHES i 
* 


i 
i 


5 
. 


t} 
ee ET 
td x 


fe 
: oe 


egret es oterere tet ey 


dj ¥ : 
eh oeriotaiet 
ees apts 
pegteocuraetsctassts 
r r3t} 
¢4 7 : 
+ aye y ‘ 
ets ithe 4 ye | ‘ : uit + 
i ¥ : reat is 
$i ny ot) ut 
+ 1 + 
et oees 


bere bert rah 
ui fi 
eta 
re} « 
rte) 7 
sik 
Atte 
Lt peat ons 


igteaears ete tate , 
Raainechy sis rt . 7 i aut 
4 y 


Hf 


Git 


ait 
it 


re 


Tt 
i eee et 


Me 
eae} 
ey me rent 
$ 
aig 
batt rt det 
+ att sty 


bbe 


spbrtye 

bidpigidiks 

ruatrstgi sit i en 
‘ ; { i r Waters 

set ; 

et re] 


res 
+ 


gtk Hebei . oh: sit wrt hi : . ; r why 
; i" s 


uy 


LehiNkeiNe 
i ’ : OCT : Sa fies 

Hes yareja; i . § : ; M4, ” 48 OF tauheek 

gt asisint : E t : erbeysaptets 
CS Ey Bt ‘ : : t it 

tice Hee 

eight tiees 
i: 


: i j i rf 
: iit : ¢ spit { : oh 
paths Hat ins ‘ r 

ort yi sesebesey 

sri isp erepanat: 





SINGER 
Carpet Machines 


No. 36—1. Automatic—By Power. 
No. 35—2. Operated by Hand. 
No. 32—45. Special for Ingrains. 
No. 32--48. Blind Stitch Serging. 
No. 81-10. Overedging. 


——_ MACHINES: 10 Raum 


Upholstery Work, 
Shades, Curtains, Etc. 


SEND FOR SAMPLES 


Singer Sewing Machine Co. 
Singer ee a York 











The 
Carpet Workroom 


A GUIDE FOR 


Measuring, Cutting and Laying 


With numerous diagrams of work actually performed, and 
with which is incorporated a dictionary descrip- 
tive of all floor coverings and the processes 
employed in their manufacture, with 
other useful information for 
the novice and expert. 





Copyright, 1910, by 
REVIEW PUBLISHING COMPANY 
31 East 17th Street, New York 





PUBLISHERS OF 


CARPET TRADE REVIEW 
UPpHoLstTerRY TRADE REVIEW 
FURNITURE TRADE REVIEW 
History OF FLOOR COVERINGS 
ORIENTAL RUGS AND CARPETS 
UPHOLSTERY AND DRAPERY GUIDE 
FUNDAMENTAL PRINCIPLES OF DECORATION 


Established 1870 





PREFACE. 


T 1s intended that in this treatise upon carpet meas- 

& a8 uring and laying the rudiments and likewise the 

most advanced principles and practice of the 

trade shall be set forth so clearly that any novice 

in the carpet workroom will have no difficulty in 

comprehending and applying them, whether the 

job to be undertaken is the simplest possible or the most com- 
plex and difficult. 

All of the work described and illustrated in these pages 
represents jobs actually performed by experts connected with 
large carpet houses of the most up-to-date class, in which no 
bungling or careless methods are tolerated. The novice who 
studies carefully these descriptions and illustrations of what 
may be called typical jobs in his trade can therefore feel as- 
sured that he will have nothing to unlearn in after years. 

The book is not intended for carpet upholsterers only. It 
contains also a dictionary of carpets and other floor coverings, 
comprising descriptions of all fabrics used on floors, likewise 
explanations of processes and terms employed in carpet manu- 
facture, and a very considerable amount of other information 
of practical interest and importance to all handlers of floor 
coverings. In these days of sharp competition, involving close 
estimates and small profits, every carpet dealer and salesman 
needs to be well informed in all essential details of his business 
from the mill, through the store and workroom to the floor on 
which the goods he sells are laid, and it is just such practical 
information which this book supplies in concise, convenient 
form. 








7 . ‘¢ $ 
be * ’ « A 
‘ r N 
. ‘ . 
‘ ~ ' 2 
he C } , 
we , t 
~ + 
- > 
a 
¢ q _ 
if : a / : 7 i 
‘ i 
skp ey 
' * ” * 
+ 
- - ' ‘ 
7 vA 
» 
i 7 ' 
s . 1 ‘ K s Me t 
‘ 
— * ~ i 
‘ 
‘i } 
. ' 


ledauecal 1G 


Carpet Measuring, Cutting and Laying. 





Measuring a Saloon Parlor. 


HE diagram No. 1, which is presented on page 5, 
has been prepared for the special purpose of illus- 
trating all the principal difficulties in correct 
measuring, cutting and laying which arise from 
peculiarities in the shape of a room. 

The diagram represents a saloon parlor. 

The letter A indicates a door between the parlor and the hall. 

B is an ogee curve, caused by the hall being narrower at the 

entrance-door than it is a few feet farther back. C is an 

angular bay-window and D is a semicircular one. In the case 
of D the measurer ascertains the radius of the circle and marks 
the figures on the diagram as in this instance, in which the 

radius, indicated by the dotted lines, is seen to be 3 feet 3% 

inches. When the window will not form a part of a perfect 

circle, as is the case at C, the measurer “‘squares off” the space 
in the manner shown in the diagram. 

D! and D? are windows of the ordinary kind. 

FE is a quarter circle which is measured as D is, excepting 
that the dimensions are taken from the outside instead of the 
inside of the circle. 

F is a triangular bay-window. In measuring this “squar- 
ing’ is again resorted to, as shown by the dotted lines, which 
represent a space of 2 feet 6 inches in one direction and 2 feet 
10 inches in the other. | 

G indicates a portion of an ellipse, in which the proces: 
of “squaring” is again utilized, and the part of a triangle, H. 
is treated in the same manner. shes 

The measurer now begins to apply his tape line at the 
front of the apartment. He first measures the total breadth 
there, which is just 18 feet. The next measure taken is from 





Page Three 


Page Four 


the left-hand corner of the front of the room to the point 
where the bay-window C begins; this proves to be 3 feet and 
is put down on the diagram; then the entire width from the 
baseboard on the right-hand side to the window, 7 feet 2 
inches, is next ascertained and placed on the diagram. The 
sums of the last two measurements with the width of the bay- 
window show a total of 18 feet, which proves that the figures 
are correct. The next measurement is from the point I to 
the beginning of the ogee curve, which is 2 feet. The curve 
itself is divided, as shown by the dotted lines in the diagram. 
In this instance one of these spaces measures but 4 inches 
in one way, while the other five measure 6 inches each in the 
same direction. Then, measuring from the line of the base- 
board to the angle formed by the dotted lines, the distance is 
found to be 4 feet 10 inches. The depth measuring the dotted 
line from x to x is 10% inches. Six inches farther along an- 
other measurement is taken and proves to be 11 inches. The 
same process is repeated at the points indicated by the short dot- 
ted lines, and all the measurements so obtained are duly trans- 
ferred to the diagram. The distance from the ogee to the 
door, 2 feet 6 inches, the width of the door, 5 feet, and the 
distance from the door to the point H are all marked down 
separately on the plan. The angle at H being squared is seen 
to be 7 inches deep and 1 foot 2 inches long. The ellipse G 
is marked off in the same manner as the ogee curve, excepting 
that, being larger than the latter, the spaces between the lines 
are made wider. 

The next measurement is from the point M of the base- 
board to the beginning of the bay-window F, 2 feet 2 inches. 
Then the width of the window is taken, 5 feet. The measure- 
ments inside the window require no explanation. Windows of 
this size are usually filled in with plain carpet or filling. In 
measuring for the quarter circle E it is found that a right 
angle can be struck by running two short dotted lines back 
a distance of 1 foot 4 inches each, and these figures, to- 
gether with the distance from the angle to the centre of the 
quarter circle, are noted. The measurements on the leit- 
hand or straight side of the room require no special ex- 
planation. The measures of the entire lengths of the sides of 





DIAGRAM 1, MEASURING A PARLOR. 


Page Five 


Page Six 


7 


a room and widths of the ends must be compared with the 
sums of the short measures taken, as was explained in refer- 
ring to the measurements of the front of the parlor. In meas- 
uring a square room in which the two sides are of the same 
length and the two ends are of equal width, it is not necessary 
to take the diagonal measures shown in the diagram. Their 
purpose is to establish to a certainty the exact conformation 
of an irregularly shaped apartment. Thus the line running 
from J to M is used to “prove” the triangle formed by the 
points J, 1 and M. The line from J to N “proves” the triangle 
made by J, land N. The line from J to H “proves” the angle 
formed by J, H and I, and so on. These diagonal measures 
must be taken exact and with special care. 


Cutting the Carpet. 


After the measurements have all been placed in the dia- 
gram, the next operation in order is for the cutter to reproduce 
the plan by chalk marks on the floor of the cutting-room, 
making this second diagram correspond exactly in size with 
the measurements given in the first one. 

Generally two tape lines are employed in laying out the 
plan of an irregular room of this description. After carefully 
looking over the plan and seeing that the figures tally, the 
cutter uses his judgment as to the point of commencement. 
He may begin at the point marked J and strike out on the 
floor a straight line running to I, a distance of 18.0, taking 
the measurement for the window C (7.10) as he proceeds. 
Leaving the awl in the tape measure at point J, he continues 
along the bevel side of the room with another tape line, plac- 
ing the awl at I, to measure the ogee curve 4.10. Then taking 
the tape line left at J he runs it across to the point of the ogee 
curve, a distance of 16.9. The intersection of these two meas- 
ures establishes that point. Then point H, 14.10 from I, is 
intersected by a measure from J 18.2. The short measures 
along the line can then be filled in. Then shift the awl from 
I to H, placing it 7 inches in at that angle, and mark off 
points 1.2 intersected by 18.1 and 1.8 intersected by 18.11% 
at N. Then shift the awl from H to N, and measure the line 


6.3 intersected by 24.1% at M and establish the triangle at 
the intersection of 6.9 and 2.2. Then fill in the offsets as 
shown in the plan at G. Strike out the rear end at F and E 
and continue along the straight side to the point of commence- 
ment J. If two tape lines are not at hand one will answer the 
purpose with a little more careful management. The next 
stage in the operations is to lay the border on the floor along 
the chalk lines which indicate the baseboard of the room to 
Pepeatpeted. If it is a square one there will, of course, be 
only four mitrings required. In an apartment like that rep- 
resented in the diagram more mitring is necessary, and sound 
judgment must be used as to how the room shall be bordered 
and what parts filled in with the body of the carpet. 

The amount of mitring essential depends greatly upon the 
width of the border. A narrow one requires more than a 
wide border. When the border has been fitted in its place 
on the floor the carpet is taken in hand. In arranging it 
inside the border, care is observed to avoid unnecessary waste 
of material in matching the breadths, and such odd pieces as 
may happen to be made in the matching process are utilized 
as much as possible for filling in around windows, etc. 

When the cutter’s labors have been finished the carpet 
completely covers the diagram on the floor. The border is then 
basted to the carpet at intervals of a foot; its breadths are 
fastened together in the same way or the breadths are marked 
on the back with chalk on both selvage edges where they con- 
nect, as for example: First breadth marked 1.2; second breadth, 
2.3; third breadth, 3.4, and so on. The border is marked at 
the mitres where they connect as A-A, B-B, C-C, etc., and a 
thread is sewn on the border at the exact point where each 
seam comes. 

The carpet is then carried to the sewing room where the 
sewers complete the work of the basters or tackers. 

The carpet, being now properly measured, cut and sewn, 
has passed the most critical stages in its career—from the 
dealer's point of view—although a careless or incompetent 
layer may mar all the good work that has preceded his own. 
But the carpet layer who makes such work his vocation is 
generally equal to its demands, and, indeed, often deserves 


Page Seven 


credit for a skillful arrangement by which a mistake of the 
measurer or cutter is remedied. 

Diagram No. 2 shows the quantity of carpet required 
for covering this room and also how the % border and vari- 
ous breadths are cut and laid. 

In laying a 3@ border on this room, start at the corner J 
and continue around the window C to point I, follow the line 
of the ogee curve at B, continue straight across the entrance- 
door to point H, follow the line of the angle at H to N and 
around the curve N G M, then straight across to E, then up 
to and around the circular window D to the point of commence- 
ment J, as shown on the diagram. The cutter will use his 
judgment in arranging the mitres to best advantage. This 
job requires 35 yards of 54 border. The body of the carpet 
(without any matching of figure), commencing on the straight 
side of the room E to J, will cut as follows: 


Tste breadt hese ser ee 18.6 

2nd Te eiee test en eee 2203 

STU Fit” tye pane 2252 

4th ee See ee ete 

5th Vi orsed oe eee 10.0 

6th SOA Re ree 5.9 

7th de are Bi 3 waste from 9th breadth 
8th Aga Ges BuO Window D 
Oth = ae ee ees ato 
10th te aha Pn a 4.6 
Tith Fe OSS ee 4.6 ->Window F 
12th a eI) <2 ROO 
Entrance-dooi..) ae 5-3 





123.0. feet,-or 41 yaras. 
The waste from the entrance-door breadth, window F and 
breadth 4 will fill in the window recesses of D, D! and D?. 


Page Eight 














DIAGRAM 2, SHOWING THE ARRANGEMENT OF THE BREADTHS 
AND BORDER. 


Page Nine 


Page Ten 


Front and Back Parlors, Main Hall and Extension. 


IAGRAM No. 3 represents the front and back parlors, 
main hall and extension of an ordinary city 
house. To measure for three-quarter carpet, 
after first drawing a plan of the rooms and hall, 
measure the entire length in feet, inches and 
fractions of inches on both sides, and take the 

width at the ends. 


Locate the jogs, and take the measurement on the fire- 
place side of the room, and the sum of these measurements 
plus the width of the casing of the sliding-door will verify the 
measurement of the entire length of rooms. 

Measure from the rod of the sliding-door to the front and 
rear baseboards respectively. 

Fix the positions, and measure the width and depth of the 
windows. 





Measure the baseboard and molding of the casing of the 
sliding-door, beginning at the baseboard of the straight side. 
Measure the width of the sliding-door. 


Measure the baseboard and molding of the casing of the 
sliding-door, beginning at the baseboard on the fireplace side, 
and the sum of this measurement and measurements of the 
baseboard, and molding of the casing of the sliding-door (be- 
ginning at the baseboard of the straight side), and the width 
of the sliding-door, will show the entire width of the room. 

The hall is measured on the same general principle for a 
carpet; but for oil cloth or linoleum the measurement of the 
width should be taken to the extreme edge of the nosing inside 
of the banister—3 ft. 3 in. 

The measurement of the extension or small room requires 
no special explanation. 

The rooms and hall represented by the plan would require 
the following quantities of carpeting and border, no allowance 
being made for waste in matching: For parlors, 38 5-6 yds. of 
8 border; for parlors, 671% yds. of 34 carpet; for hall, 17% 
yds. of 9 in. border; for hall, 14 yds. of 34 carpet; for exten- 
sion, 13 yds. of 9 in. border; for extension, 9 yds. of 34 carpet. 

The border is run the square of the room. Take the 


Aionclow 


Wernclo ory 












Gest aes : Tint pau) = CR Sa 9 fearlw BS at Se, SPY PC iS 
iy Se). OC va ' <---§-0 --->? ‘ 
5 7 ; ‘ 
: oe a ‘ é 
‘ qe 5 7%, a : 

Q ' s ® ‘ 
; \ . , S | 
QR 
‘Ss X Sy ~ “ N 
pn eR a anh aig gt pas Pe Do fs | Ee en hs ae eats ON eg ee ore (ES es 21-Ghi/. Ser, Ce Sees pen 
SS #76 Se LR Ne sf 72 + 
! ° a : vu U 
’ a S ; c f 
7 RK slg ee: 9 
| : : ‘ 
| ; ’ 
; ea ‘ 


a eta 
















Wincdlow 


a FC : 
1-0)° 
; } 9.0 oes ee ae, « ~~ 
| 
3.3. | ~ ee ek. 2 Rta ’ f as . 
ar | renee : ri aera 9 Lx lenetor <) 
{ ae dtease Y S 
LN) eh scl ad se, 3 areal “SD 
1.0 
age Y 
| he Epa Mcrae scien re ie De ES See oe ee 43 G eS a oie le ea, 





M cen, SF aers Bast Slaere 


Page Eleven 


Tindow 


Won clow 
AND EXTENSION. 


DIAGRAM 3, FRONT AND BACK PARLORS, MAIN HALL 


length of the front parlor, 21.4%, and the length of the back 
parlor, 21.4%, which, doubled, makes 42.9, and the other side, 


ae ie of course, makes the same amount. Then there 
42 9 is a strip across the front parlor of the width 
C6 of 14.6, and a strip of the same width on the 
14 6 back parlor, which doubled makes 29.0. 
pan a The border should always run on _ the 
Ry eee he) 


straight side of the room, and be turned under 

38 1-6 at the sliding-doors, when these run into the 
partition. A border and mitre should never be turned around 
the sliding-doors of a parlor, not even if it is a 9 inch border, 
After the border is run around the square breadth of the rooms, 
the carpet is filled in from border to border and then cut at the 
sliding-doors, so that the breadths of carpet for the two parlors 
will match each other where they come together at the sliding- 





doors. 


A Guest Chamber. 


© measure the guest chamber represented in dia- 
eram No. 4, first measure from A to B, then 
from B to C, next from C to D, and then from 
E to F. Find the radius of the circle, mark the 
point G on the floor and tie this by a direct 
straight line to H, this being a very important 
measure. Then measure from F to I, from I to J, from J to K, 
and take the depth of the fireplace and hearth. Next measure 
from K to L and take the depth of the wall recess. Measure 
from Lto M, MtoN, N to’O, O to P, P to A, B to N, and C to 
M. Take also the measures of the partition D to Q. 





Page Twelve 





DIAGRAM 4, A GUEST CHAMBER. 


Page Thirteen 


A Hall of Unusual Shape. 


ue hall shown in the diagram No. 5 was situated 
on the second floor of an old-fashioned dwelling 
house. In this case the most interesting fea- 
ture of the work was the cutting of the carpet, 
which was done as follows: 





With the measurer’s diagram before him, the 
cutter marked on the floor of the carpet workroom a duplicate 
plan of the exact dimensions required for the carpet. 


In marking out this enlarged plan he first made, with the 
chalk and line, a straight line running from ato b. The fig- 
ures which appear in the diagram here indicate the small meas- 
urements taken from the various corners or angles of the hall. 
in the plan, and proved by adding together the various small 
measurements taken along it. The cutter then got the angle for 
the line which runs from b to ¢ by measuring frem D to the 
straight line from c to d, which is according to the measurement 
point e, exactly under the point c, and then measuring to this 
point c. These measurements are indicated in the diagram by 
dotted lines. Having reached the point c, the cutter drew the 
straight line from c to d, which, according to the measurement 
given in the plan, was inade 1 foot 10% inches in length. 
The angle from d to f was then obtained by carrying a dotted 
line from d out to the point g, that is, to a point directly under 
the point f. A dotted line was then run up to f, a straight line, 
1 foot 7 inches in length, was drawn from f to B, and it then 
became necessary to square the angle between B and D, and 
next to find the distance from the angle D to the point E, which 
was 5 feet 9 inches, the widest part of the hall being along the 
line U to V, which, as drawn, is 2 feet 1014 inches from the 
point E, and the same distance from D. In order to get the 
proper curves for the space between E and D the cutter meas-. 
ured every 5 inches, as shown by the figures on the diagram. 
As the point D was not on a line with E, it was necessary to 
square the angle again, as shown by the dotted lines, measuring 
2 feet 1014 inches by 2 feet 614 inches. The next line laid out 
was that running from E to F. From that point to the point a 


Page Fourteen 












> 
bs 
‘ \ ’ | 
' i | ' ' 
‘ ; H ' } ' 
: ‘ 1] ( 4 t D 
Serbia > ea gest 
' , H i F 
' ' ! : ! ; 1 ; 3 
' 1 } ' \ | : ' , < 
: ; i t i / ' Bs 
é | i ' ' : t ! j ' ‘ r 
’ ' ' ry : i i j ! ’ : 
! ! io at a tl | H 
4 i ' { 1 wl} 
ee ee dal ener ey ket a) . 
; 1 ea]! we! ' J 5 Le] b> Ui et | Cot] 
1 owl! o; ' ' ye! a i ' Jace 
1 @! ri ‘ ue PT NN! Nt) os > Ol — inl _ 
Tien Cy a See a Ceram ie Ed Re s - 
= 1 ! ‘ : ! { ! H | i= a . ‘ 
eee ner eet | ys, ae eae? Esl. a oe ae 2 
eee eee 8 0201s ON SAE OLS LoS ‘ < : 
aN ea eae) ' ! ‘ ' 1 
' ' 1 ! ! 
PAT j2cL LO 19-8) 05 0:8 | os joao 


Meedeenetnien 


we 
ora 
6 N,w 
sie 
SEE 
G1 
{ 
2 
ne) 
C- ') 
a c 
x 
‘ 26!) 
6 “25 ey 
cK. 
\ H 












Re 19-9... 
‘ 
? 
( 2 Oy- “alee i i: Wy 
pee {S207 s-0 16-0 15-07 g-0 T 5-0 ee: 
VOl-2 | i t: : nN 
=p ee aes rye a9 BR oe a ! ‘ 
bd j S90 78:8 15-04 $70 Os : ! ! 
‘ ‘ { ’ ! ' 
Met GE errs dR Big ee Mag ee 
ape ee a ed Me fee te a a St wg 
Wu ae wl oO! =~! at 1 | ben ' 
GEO Od Gace sabe anieaa re ic le ae $0 
P ’ oon \ i i 
Bey ac teers} x}, Ty ett Aen 
1 t ‘ | ; t 
’ ; ‘ F 5 ! ! 1 ‘ 
‘ 1 ‘ , ‘ , i f 
ey OT OR eg! yee a eS 
Fe Cee Ma, fe pears | 
i : { : : : ' a4 \ ‘ iv) 
: ; : 1 
‘ee. Gi. ica nL eres! 
‘ io - 3 i ! ' 
: 1 ‘ i] : 1 I 
: C ‘ ; ' xb 


Page Fifteen 


A HALL OF UNUSUAL SHAPE. 


DIAGRAM 5, 


the cutter proceeded in precisely the same manner as on the 
opposite side. 

With his lines laid down as shown in the diagram, the 
cutter’s next step was to prove the correctness of his work as 
compared with the plan by making the cross measurements in- 
dicated by the arrows, as for instance, from F to D, B and W, 
and from E to G, H and S. 

Having the plan properly drawn out on the floor the cutter 
then began the cutting of the carpet. Starting with the border 
from the point A, he ran it in a straight line to B, making a 
mitre there and another at D, and then brought the border 
along the large curve from D to E by cutting half or quarter 
mitres every 5 or 6 inches and folding under the superfluous 
material. The border was not cut entirely across, a portion 
of the outer edge along the entire curve being left uncut. At 
FE another mitre was made, and the border was then run along 
the straight line from E to F. The curve from F to G was then 
fitted as on the opposite side. Mitres were made at G and H, 
and the border then run from the latter point straight to I, and 
thence to the point A. The spaces C were next filled by 
placing one breadth of carpet from M to L. This space being 
but I foot 5 inches in width there was enough material left 
from the breadth of carpet to fill in also the triangular spaces at 
aand b. Next a full breadth was run from the dotted line 
opposite D to P, and another breadth was run from R to Y. 
One more width running from the dotted line opposite G to T 
left uncovered only a space on the right side’4™% inches in 
width at the widest part and tapering at each end to a point. 
This was covered by using the waste of the middle width, and 
the job was then completed. 


A Front Chamber. 


HE method of measuring a front chamber as shown 
in diagram No. 6 will be found interesting 
and suggestive, as the peculiar shape of the room 
presented several technical difficulties to the 
measurer. 





Page Sixteen 





DIAGRAM 6, 4 FRONT CHAMBER. 


Page Seventeen 


Main Saloon of a Steamship. 


N measuring this saloon, first mark the centre line 
e T with chalk where you can get the full width of 
the floor. Usually a joint at the centre of the 
floor board forms the centre of the boat and is 
continued its full length. But this should not be 
taken for granted, the centre line being always 
measured or marked on the floor where possible. Continue 
measuring from the bow of the boat on the centre line 13.6% 
which is opposite the point of the bow curve. Measure straight 
across and show the distances on both sides of the centre line 
and mark the position at each extreme end. Then measure 
from the centre line from the bow to the position measured at 
the cross line 13.2% on either side. Measure the offsets at 
right angles from the 18.9 line at the intervals best suited 
for the purpose. Then measure on the centre line again 3.9 
to the obstruction in the centre of the boat. Measure the curve 
corners at both ends, see that the measures are true and mark 
the points on the floor, then get the straight measures on one 
side of the obstruction. Sometimes this space is filled with 
chairs and the full width of the passage cannot be taken 
all the way across. In this case form a straight line toward 
the outside at a certain distance from the obstruction at both 
ends (in this case 6.0), and from the new line take the offsets 
at specified intervals. Repeat this for the opposite side, then 
measure the centre again to the next obstruction as shown on 
the diagram and so on to the stern, showing all obstructions 
on the plan and giving all the measurements. The stern curve 
has to be measured differently from the bow, as shown on the 
diagram, in order to avoid the obstructions. Locate all the 
stanchions, masts, etc. Add all the centre measures together, 
which give a measure of 108.2, this being the entire length of 
the saloon. 


Page Eighteen 


MAIN SALOON OF A STEAMSHIP. 


DIAGRAM 7, 








Page Nineteen 


First Floor of an American Basement House. 


HE diagram No. 8, drawn for this floor, shows the 
position of the stairs in connection with the main 
hall, but as the upper part of the stairs ex- 
tends over the line of the rear part of the main 
hall it would be preferable to plan the stairs on 
a separate sheet and show only the floor line of 

the stairs on the main hall plan. 

In measuring, start from A to B, B to C, Cites Be ataens 
E to F, Fto G, Gto H, Hto A. Take hearth measures, curve 
measures and all short measures carefully and check them by 
one long measure. Make a note on the plan of the descrip- 
tion of flooring, the material of which the hearth is constructed, 
the location of elevator, toilet rooms, windows, etc. Then 
measure the coat room. In this plan the door forms part of 
the curve and is fitted on the hall side with a mirror. Usually 
rugs are put on this floor, but the measures given will answer 
for any covering. 

In measuring the stairs, show the lower curve of the riser 
accurately. Give the width of each step as shown on the plan 
at the foot of each riser, then give the depth of each tread on 
the wall side. Note the length of the risers and measure down 
over the tread and risers to the wall side for a check measure 
net. 

Note the material of which the stairs are built. These 
measures will answer to cover the stairs entirely, for a strip 
and for pads and invisible stair rods. 





Page Twenty 


LD 


ete 


YVEST/BULE 











VOCLET: 


ae /2ceg 






VORLET 
ViLe 7L00R 








Buorec\® —, % 













| 
| 
% 
ind | 
ai N . 
| Wi cwe . | 
2 | 
Cemen/- fer N | 
Naa 
= hircrey Closer |S | 
| 
Foy | 
fy sees 
ra 
UITCHEYW 
| TREE 


DIAGRAM 8, AMERICAN BASEMENT HOUSE, FIRST FLOOR. 


Page Twenty-one 


Second Floor of an American Basement House. 


FTER drawing the diagram No. 9, as shown here, 
measure first the drawing room. Place your awl 
at point A and measure to B, marking off at 
stated intervals the spaces which in your estima- 

tion are most suitable to show the curves for the 

offsets. Then take all the measurements of the 
offsets, then measure from B to C by bringing in the tape line 
3.0 from the base and running it in front of the hearth. All 
these measures can be taken as you proceed. Then measure 
from C to D, showing the depth of the door up to the slide, 
then from D to A, and around the swell front to B, showing 
the width and depth of the windows. Proceed in the same way 
with the stair hall and elevator hall, measuring from E to F, 
Fk to G, G to H,.H to E, I to. J, J.to K. Ke toute eee 
giving all the short measurements; then measure the dining 
room from M to N, N to O, Oto P, Pto M. Take all the 
short measurements and see that they tally with the long ones. 
Note the kind of flooring. Usually in this kind of a house the 
second floor is parquetry, with or without border. If there is 
a border, mark how it runs on the plan, using for this a blue 
pencil. Then measure the breadth of the border from the 
bases and put that on the plan, also in blue pencil. In most 
cases rugs are used on parquetry floors, but if the measures are 
taken as shown on this plan, they will answer either for rugs 
or to cover the floors entirely, with or without borders. 


Page Twenty-two 






\ 
DRAWING. Roo © YYARBELE 
ZB LS) MVE IRT 


MEP 


(har Be’ 
LLEUA 7OR 9 
Tags ~ 
BL 
Shee xe Re 
YW Gate. 





2 


es 
LY NINE ffoory 


ara 







aS 
a ~\ Fargo Cats 7 CEES ‘| GEARTA 
4 Re) 
cA ly nas 
4 OA 
f- yee 3 yl He Al 
eet GAO eee ae de. ste? 
A rye eae = cay ee - . Ny 
PISSACE See nes oy 
7 yw RM eX wl 
BUILERS S ° 
PRITR y ' ef 
q 1 





DIAGRAM 9, AMERICAN BASEMENT HOUSE, SECOND FLOOR. 


Page Twenty-three 


A Peculiarly Shaped HAHall. 


o measure the hall shown in the diagram No. 10, 
the first thing necessary after having made an 
accurate plan of the hall is to draw a line from 
A to B through the centre of the hall. All the 
measurements in width are taken from the centre 
line to either side. The measures of the front 

or oval part of the hall are taken from the centre line at every 

foot from A to C. Then the lengths are taken from A to C, 

C to I, I to D,.D to J, and from J to B, which willteivethe 

total length. The next step is to measure from the point D on 

the centre line to the corners E, F, G and H; then from the 
centre line to E and H, which will give the entire width of 
the hall; then measure the width at C, I, D and J, and from 

E to F and G to H, locating the doors and also giving the 

depths of the doors. The measure for the circular sliding- 

door is obtained by the same process of measuring as that used 
for the oval part of the hall. Measure from the centre line 
to the door at every foot from J, and take the measurement at 
© and R. The other offsets and doors are then measured 
separately. It is well to measure the total length and width 
also, as this will prove the shorter measurements taken. At 

the front door the measure is taken from the centre line to T 

and V, and from S to T, and from W to V, and from S to W. 

The small offsets at each side are measured separately. 





Page Twenty-four 





oS ' ' 
O-J 10-01 O77 4 
' 


t ‘ 





DECK TO BACK HALL 
A PECULIARLY SHAPED HALL. 





‘WOOU ONINIT-OL YOOd 


DIAGRAM 10 


Page Twenty-five 


A Church. 


AKE a diagram of the entire church, as in Fig. 11, 
then measure the chancel completely to the foot 
of the lower riser, then the space for the chor- 
isters, including also the pulpit, reading desk and 
steps; ther the choir room, next the body of the 
church, locating the position of all aisles and al- 

coves, and finally the inside measurement of the pews. Note 
on the plan what spaces are marble or tile or any other sub- 
stances than wood, and whether the pews are raised above the 
floor level or not, and if they are raised, how much; also if 
the riser 1s hardwood finish or otherwise; also if the aisles or 
any of the spaces are to have strips only or are to be covered 
entirely with carpet. Also note whether the choristers’ seats 
are screwed down over the carpet or not. 

In dealing with this subject of church measurement, a 
diagram of a typical Episcopal church is presented, because it 
covers all the points involved in the measurement of any other 
church. The plan of a Roman Catholic church would be prac- 
tically the same, such differences as might exist being unim- 
portant so far as the carpet measurer is concerned, while the 
plan of the ordinary Protestant church (Methodist, Presby- 
terian, etc.) is so much simpler that it can present no difficul- 
ties whatever to the careful observer of this diagram. 





Page Twenty-six 
















au in wy) 
fleets See a BRS Y eathel 


ICH OVR 








VA 

2 ° 

CS 

AAA 
R 
R 

Sas > 

) 5) 

5 ° 

A2Aee |e 
g 
aN 
G 
Kw 
th 

bee #2 

ee le 

9 Cc 


Sot) 


sede ve 


Pa: 


om a 


US LE 


“ee 


i 
ec 
® 
aN 
is) 
2 
SS 
ce 
AS 


reo x | 7t 0 x iN AS 2 
age lars 

Ciel e NX G 
QO 


G 
NX 
x 
Y 
K 
» 


a eee | ee rs 
% | 4-0 af ee Ji S 
| Eres NS S Pas 


“WESTIBULE 
————. VESTIBULE 


DIAGRAM 11, A CHURCH. 


Page Twenty-seven 


A Theatre. 


FTER having drawn the diagram shown in Fig, 12, 
measure each space separately. Start on the 
foyer and complete the section, marking the long 

SRE measures and seeing that the total of the short 
GREE measures agrees with the long ones. Take the 

° offset at the circles and show the location of all 
aisles at that end, leaving distinct chalk marks on the floor for 
the connecting measures. Then measure one side of the prom- 
enade, next the boxes on that side, then the steps down and 
each aisle completely as you proceed. Then measure the op- 
posite promenade and boxes. Note on the plan what spaces 
are to have runners or strips and what are to be covered en- 
tirely with carpet; also note what parts, if any, are marble or 
cement floors. Note, in a word, any matter to which special 
attention should be drawn for the cutter or layer. 


Page Twenty-eight 








ae SA ees fs 
Pe is Zo errs 
d 





Q | a 
et poe , 
Ae 2 Aa 
7 
ry 
GA Ks K 7 
8 , 
Oe ‘ace / 
rae \ ’ 
\ Oo ‘ ¢ 
3 
LA 





we Bow. 
od 
onal 
Musi eray, ay e. 
: VA Lal oe 
co, GB HEE 


DIAGRAM 12, A THEATRE. 


Page Twenty-nine 


Front and Back Parlors. 


O measure these rooms, after having first drawn the 
diagram 13 as proportionately as possible, and 
marking the front of the house “front,” the win- 
dows “w,” the doors “d,”’ and the hearths, tile 
marble, brick cement, etc., as. they may be, 
start at point A, measuring to B, taking the 

measures 8.8, 3.4, 4.01% and 2.10; then from point C to D, 
taking the measure 34.11%, giving all the short measures and 
squaring the angles. Then measure from E to F, marking the 
short measures and the depth of the door. Then measure 
from F to A, showing all the short measures on that side of the 
room, also the length and depth of the hearth, doors, etc. Then 
measure from I to J, from k to L, M to N,sanG see 
course see that the total of the short measures agrees with 
the long ones. 





Page Thirty 





@ w 
EN. yY LGR W 
\ = NX 
< ws + o2./a 
N oe “3 Di pte 0 
S @ 1E fo Per So ae 
s/\ 
} N+ 42% 
Ors 
: aI 
Ne 
GS 
1E* F : 
I? 
SRONT . 
m\ 
/FARLOR N 
| 
Ny 
N29 
be ‘\ 
i ISS < 
NS ASF HIS 
*) S 
d Ww 
ByckK X 
Tad On 
/27R LOR » 
ot 
oo) 
. x 
Q Sw 





eo WL fo 3 
8] S 
NIN 
3 
a > 8: tf. é 
BF NY <. 
: Ce?) 
LJ . 


DIAGRAM 13, FRONT AND BACK PARLORS. 


Page Thirty-one 


Part of the Second Floor of a Seashore House. 


shown in diagram No. 14, there is represented 
a room with irregular angles. Draw the dia- 
GRD] eram as near as possible to the shape of the 
rooms and measure the rectangular chamber first. 
Next measure the dressing room, then the angu- 
lar chamber, starting at the partition wall and including the 
closet measures. Square the angles as you proceed on that 
line, then place the awl at point A and take off the measures 
15.914, 19.2, 22.0—20.2, 10.6, 10.3 and 6.6. Then place the 


awl.at point B and take off the measures 8.11%, 13.5 and 11.1. 
All the measures must be taken very closely and accurately. 


5 N the part of a second floor of a seashore house, 


Page Thirty-two 


ais 


eo uO! 


CHLMALR 


Lee, 


So) ‘hemes 
—~ 
Sag oo 





DIAGRAM 14, PART OF THE SECOND FLOOR OF A SEASHORE HOUSE. 
Page Thirty-three 


Winding Stairs. 


N measuring the winding stairs shown in diagram 

No. 15, measure each tread separately, taking 

the width just under the riser, and the other 

measurements as shown on the diagram. To 

prove the total length, run the tape measure from 

top to bottom over the treads and risers and close 

to the wall side. By marking the figures in this manner they 

answer all purposes, whether the stairs are to be covered en- 

tirely or to have only a strip, and they also provide for the 

use of the invisible stair rods or pads. Always make a note if 

the stairs are constructed of any other material than wood, 
such as marble, cement or iron. 


Page Thirty-four 





nti, Oy 


a 
\ X\ 
x Q 
XK Re 
ae 
a P2Z] fog? 
7 er es 


Rae 


Sor aCe 








4] | 
By app pert Y 


ee 
a 





DIAGRAM 15, WINDING STAIRS. 


Page Thirty-five 


First Floor of a Suburban House. 


N measuring the floor shown in diagram 16, begin 

& dQ to measure from the front to the back, com- 
pleting each room as you proceed. Square all 

angles and give the measure of all window re- 
cesses and closets, width and depth of hearths, 

etc., and give names to these spaces on the plan, 

such as “tiled hearth,” “range,” “closet,” “sink,” “dresser,” etc., 
so that no matter whether the carpet is bordered or not the 
cutter can determine where to stop the border or to do any 


piecing or filling in, or the oil cloth cutter can designate the 
best place to make cross joinings. 


Page Thirty-six 





0 STINE foog* 
z I 





a 


N pre 
Nt, 1T CHEW 


sy © 3 
rr) Zawe 

DRESSER Cn ee ne. 

W et 

§- CLOSES G-o 





DIAGRAM 16, FIRST FLOOR OF A SUBURBAN HOUSE. 


Page Thirty-seven 


An Oval Room. 


oO measure for this room, first form, as in diagram 
17, a rectangle from the centre line, locating each 
corner on the floor. Measure from A to B, B to 
C,CtoD, Ato D. Take the right angle of “off” 
measures as you proceed 2.0 apart, or as near as 
the space requires at any projections of the line, 

such as hearths, ete. The diagram is really sufficient in itself 

without any explanation. 





Page Thirty-eight 






TILE WEIRTH 


Of. SOAR fs fx 






DIAGRAM 17, AN OVAL ROOM. 


Page Thirty-nine 


Points in Measuring and Laying. 





Measuring. 

N most carpet plans the front of the house is at 
T the top of the diagram, but some measurers place 
it at the bottom. The important point to remem- 
CRED ber is that all the measurers for each house 
SAE Y should agree in this matter, the front being al- 
ways at the top or always at the bottom of all 

the diagrams. 

In making estimates before the carpet has been selected, 
calculate the yards net and then allow from a foot to a hali- 
yard for each breadth. When the carpet has been chosen and 
the pattern is therefore known, that will be taken into consid- 
eration in making the estimate. 

In measuring stairs mark on the plan the number of steps, 
and if they vary in width note the variations. 

A rule is useful in place of a tape line when it is neces- 
sary to measure under furniture or in any places where a tape 
line cannot be used. 

When the carpet is to have a border take the measure- 


ments as close as one-eighth of an inch. 
Always begin at the straight side in measuring across a 


room. 


Laying. 

HEN a front room and a rear one are connected by 
sliding or folding doors, the breadths of carpet 
in both rooms should run with the figure to- 
ward the front, if the carpet is of the same pat- 
tern in both rooms, but if the pattern in one 
room differs from that in the other, each room 

should be treated independently, which means that the breadths 

in each room should run toward the windows in that particular 
room. 





Page Forty 


In laying large carpets ‘without a border, begin at the 
back and the straight side of the room. 

In the main hall the breadths of carpet should run from 
the entrance. In all halls above the main one the breadths 
should run toward the front. 

In laying straw matting the knee stretcher should be em- 
ployed except in long spaces or where the centre is full, as 
there a vise is more effective. When lining is used with mat- 
ting avoid having the seams of the lining and the matting come 
under each other. 

In carpeting a single rear room, let the breadths run the 
longest way, whether the figures point toward the windows or 
not. 

It was formerly the rule that the border of a carpet should 
follow the shape of the room except that recesses of less 
dimensions than the width of the border must be covered with 
filling or body carpet instead of border. But often at the 
present time the idea is to have a rug effect and all recesses 
are usually covered with body carpet laid outside of the border. 
This plan is frequently followed in the case of a bay-window. 
The customer may decide such points. 

In all halls above the main one the top of the figure should 
point toward the front. 

The breadths in an alcove should run the same as they 
do in the room of which it is a part. 

When a back parlor and the hall are connected with the 
front parlor by large doorways, the breadths in the back room 
and hall should run as they do in the front parlor if the carpet 
is the same. 

In laying stair carpets begin at the bottom of the stairs, 
for stretchers are used in such work and the proper purchase 
cannot be obtained if the layer does not begin at the bottom 
of the stairs. 

As a rule the seams of carpets should run from front to 
rear. 

When the carpet in a hall and parlor is all of the same 
pattern, the top of the design should point toward the front 
door and front windows. If the pattern is not the same, the 


Page Forty-one 


top of the figure in the hall carpet should run from the front 
door. | 

The figures in a stair carpet should point upward. 

In laying a plain Ingrain filling carpet, run the widths 
from the door or end of the room toward the windows, as the 
seams will then be less conspicuous than they could be in any 
other way of laying. 

In cutting floor oil cloth or linoleum from 1 to 2 inches 
should be allowed for trimming and for irregularities possible 
in the baseboards. After being cut linoleum or floor cloth 
should be spread out on the floor for a few days, and if it is 
wrinkled it should remain spread on the floor for a week or 
more. If it wrinkles after being laid it should be cut and 
trimmed on the sides or ends as may be required. This should 
be done immediately to prevent cracking of the fabric. 

In strongly marked patterns, and particularly in floral ef- 
fects, the top of the design must point toward the windows, 
and this rule is particularly applicable to parlors and front 
rooms generally. 

Some layers claim that when a carpet has a cut pile the 
pile should run toward the strongest light, but the best au- 
thorities on this subject declare that the pile should have noth- 
ing to do with the running of the breadths, as the figure alone 
should be studied whether the pile is cut or not. 


Page Forty-two 


PAR I. 


Treatment of Floors and Floor Coverings. 


Treating Floors tor Rugs and Carpets. 


OMETIMES when it is desired to stain and polish 
a floor, and strew rugs about it, the boards of 
the floors are not in a fit condition; that is, they 
are uneven and badly fitted together. If in such 
a case it is decided, either on account of health, 
economy or appearance, not to have a carpet 

cover the entire floor, the first thing to do is to have the boards 
attended to. If the cracks are large, they should be filleted 
with thin strips of wood; if only small, they may be filled in 
with putty, which, when hard, can be painted over and will 
look like the wood. All unevenness must be planed off, and 
then the staining process may be begun. It is absolutely im- 
perative not to hurry the operation; both the stain and the 
varnish must have plenty of opportunity to dry before the 
room is used, or all the work will be in vain. This filleting 
or filling in of spaces is important, for it does away with one 
more harbor for dust, flies, etc. If there are paint spots on the 
floor they must of course be removed with turpentine before the 
stain is applied. 

The simplest treatment is as follows: When a thoroughly 
smooth surface has been secured, let the floor be well scrubbed, 
and then left to dry, after which either of the two following 
processes can be carried out—they are both equally good: Put 
on one or two coats of size, remembering that the subsequent 
success of the staining and varnishing will greatly depend on 
the careful application of this. Next use the ordinary oak 
stain, light or dark, according to taste, and when this is quite 
dry, lay on the floor a coat of varnish. This must be done 
with a flat brush, which will be found to work more smoothly 
than a round one. Any painter or decorator will supply the 
varnish ; only be careful to have it mixed with quick driers, 





Page Forty-three 


and, above all, do not use the room until this last application 
is perfectly dry, otherwise the slightest mark will show, and 
the work will be wasted. Apply the varnish smoothly and in 
as straight lines as possible. 

Another process is quicker, cheaper and, provided the 
boards are smooth, almost as effective. After the floor has 
been well scrubbed and dried, apply one or two coats of or- 
dinary oak stain, the darker the better; let this dry and then 
polish with the following mixture, which, by the way, is the 
proper thing to use on any stained floor, including those 
stained by the process given above: Melt some beeswax over 
a fire, stirring some turpentine into it at the same time; when 
it is of the consistency of stiff paste put it into a stone 
jar. Apply a little of this mixture while warm with a good, 
firm, dry scrubbing brush (kept for this purpose alone), and 
brush the floor briskly, as if polishing boots, beginning at one 
corner and taking an arm’s length at a time. This ought to 
be done once in three or four weeks at least. 

The daily treatment of such floors consists in merely dust- 
ing them with a soft, dry cloth; washing would, of course, 
discolor them; spots can generally be removed with a little 
stain and polish. Abroad, the “frottoir’ is exclusively used 
for polishing stained floors, and it greatly diminishes the labor, 
besides being much quicker in bringing about the desired re- 
sult. 

The most satisfactory kind of flooring is undoubtedly the 
parquet, which originally came to us from abroad. During 
recent years parquet floors have become well known among us, 
and even those in moderate circumstances can now indulge in 
this most sanitary, decorative and labor saving kind of floor. 
Of course, a certain amount of care is required to keep it in 
proper order, but it can be done with little labor and by the 
most inexperienced domestic. When the layers have laid the 
parquet they rub it all over with a cloth dipped in French 
polish ; this has the effect of hardening the surface and render- 
ing it ready for immediate use; moreover it will remain in 
perfect condition for about a fortnight or more, according 
to the amount of wear to which it is subject. At the end 
of this period a little beeswax melted in turpentine (as already 


Page Forty-four 


described) and rubbed over the floor with an old, soft cloth, 
will be all that is necessary to give a beautiful gloss; or the 
“frottoir” can be used for the application with the same result. 
The daily process in such rooms would merely consist in tak- 
ing up the dust with a cloth, any little stains or spots of mud 
being easily removed by a little extra rubbing. 

More serious damage, or accidental stains, should not be 
treated without expert help. Another advantage resulting 
from parquet floors lies in the fact that with every polishing 
the surface becomes harder, less absorbent and much smoother, 
thus acquiring a richer and deeper tint. The whole secret of 
keeping up a good looking floor is to do the cleaning regu- 
larly, to watch for daily wear stains, to remove them at once 
and to do the fortnightly or periodical polishing as lightly as 
possible. More harm has been done to parquets by the thick 
application of beeswax, etc., than can possibly be imagined. 


Page Forty-five 


Stains for Floors. 


HE foundation for nearly all kinds of wood stains 
is a combination of boiled oil, turpentine, burnt 
umber, burnt sienna, lampblack and chrome yel- 
low. The colors are all ground in oil. 

To make a lght, hardwood stain mix to- 
gether one pint each of boiled oil and turpentine, 
one tablespoonful of burnt umber, one tablespoonful of burnt 

sienna and two tablespoonfuls of chrome yellow. This gives a 

stain suitable for hard pine and other light woods. It can be 

made several shades darker by adding an extra tablespoonful 
each of burnt umber and burnt sienna. 





To make a good walnut stain use two tablespoonfuls of 
burnt umber, three tablespoonfuls of burnt sienna, two table- 
spoonfuls of chrome yellow, half a tablespoonful of lampblack, 
one pint of boiled oil. Mix together thoroughly. 

For an old oak stain use one pint of boiled oil, one pint 
of turpentine, two tablespoonfuls of burnt umber, one table- 
spoonful of burnt sienna and two tablespoonfuls of lampblack. 
Great care must be used in mixing this that the lampblack shall 
be wholly dissolved in the liquid. 

It often happens that one does not care to imitate a particu- 
lar wood, but would like to get a soft, medium shade. This is 
easily accomplished by adding burnt umber, burnt sienna and 
chrome yellow in small quantities to the light hardwood stain, 
and then testing on a piece of board until the required color is 
produced. ‘This method gives the most satisfactory results. 
The colors used, ground in oil, cost from 15 to 20 cents a pound, 
and can be purchased in pound boxes. Wood stains, to 
imitate any wood, can be purchased in paste form at about 25 
cents a pound, and you can thin them yourself, using equal 
parts of boiled oil and turpentine. 

The colors used should be ground in oil. The longer a 
floor stands before it is rubbed as a preparatory step for apply- 
ing the polish the handsomer it will be. After the stain has 
been mixed it should be tried on a piece of planed board. The 
softer woods will take a deeper color than hardwoods. 


Page Forty-six 


The Laying and Care of Linoleum. 


AYERS should not attempt to put linoleum on any 
floor that is not level, dry and hard. 

Unevenness injures the appearance and brings 
about premature and unequal wear and tear of 
the linoleum. 

Humidity causes the shrinking of the burlap 
which forms the back of the linoleum and thereby a shrinking 
of the linoleum itself, or its buckling by unequal tension, or 
its tearing in the midst of the cloth if the fastenings at the 
end do not give ‘way. The same effect is brought about if 
the wood floor is shrinking or swelling. The humidity exuded 
from a cement floor contains: caustic alkalis which, working 
toward the solution of the oil, soften.the linoleum. ‘To find out 
whether the floor contains dampness, cover a few square yards 
with linoleum, and after some days see if the floor under it has 
remained dry. The state of the weather is, of course, to be 
taken into consideration. 





Softness of the floor material destroys the natural elastic- 
ity of the linoleum, and the same effect is often brought on by 
any soft layer under the linoleum, such as soft or thick paste- 
board. This causes the linoleum easily to give ‘way to the 
pressure of the furniture, feet, etc. Moreover pasteboard 
greedily absorbs and keeps dampness, and then result putre- 
faction of the pasteboard and of the agglutinant, mustiness, 
dry rot, musty smell, vermin and damage to the linoleum. 


In the case of an uneven wood floor, the uneven places 
may be done away with, if the boards cannot be turned over, by 
planing, cutting away the knobs, driving the nails home, quoin- 
ing larger grooves, filling hollows with chalk and glue, or with 
gypsum or white wood flour and glue, as is convenient. 
Springing boards may be joined and fastened by patent dull 
edge pins. Be cautious with fresh wood having still dampness 
in it, or when the wood can imbibe dampness from anywhere. 
Linoleum cuts off the air almost entirely, therefore damp wood 
under it may get mouldy and rotten; a sure preventive is an 
effective ventilation of the floor. 

A cement floor well smoothed, thick, dry and hard is a 


Page Forty-seven 


first rate floor for linoleum. The proportion of cement and 
sand must be regulated with regard to the quality of the ma- 
terials; generally one part cement to three parts sand is taken; 
too much sand makes a sandy surface on which linoleum does 
not stick durably. With rooms having damp walls and no 
cellars under them, care is to be taken that the dampness which 
might rise or be imbibed from the floor is cut off. 

A gypsum floor is also a superior and ideal one for lino- 
leum if it is made correctly from the proper material, but 
pernicious and the source of much annoyance if it is made 
improperly or of inappropriate material. A good gypsum 
floor is as hard as marble, smooth and covers tightly; a bad 
gypsum floor is powdery, porous and may easily become 
cracked and bumpy. The best gypsum floor is made from pure 
gypsum ; additions of sand, cinder and the like may make the 
gypsum floor cheaper, but cannot improve it. 

An asphalt floor is absolutely waterproof, but, for being 
covered with linoleum, it must be made with particular care. 
It should be smooth, hard and free from tar, for soft or easily 
softened asphalt is very unfavorable for linoleum. 


Cavities in a stone floor can be filled up and equalized. 
Turpentine flour paste is desirable only for wood floors, and 
it must contain the least possible quantity of water, be free 
of knobs, and so stiff that it can only be spread with difficulty. 
Mix one-half pound of Venetian turpentine with 6 or 7 pounds 
of rye flour; spread sparingly and equally, avoiding accumu- 
lations of the paste. 


Linoleum cement should be used on stone, cement, gyp- 
sum, asphalt and iron. It pastes best when thinned down so 
that it can easily be spread. Good cement is absolutely proof 
against putrefaction, and while it does not withstand the 
continuous influence of humidity it does not get putrid like 
flour paste. Soiling of the surface with the cement should 
be avoided. If done it can only be removed with spirits, but 
be cautious, as spirits will cause light spots. In the cold season 
the cement, before being used, must be put in a warm room, 
kept well covered to prevent evaporation and secured against 
fire. There are no other reliable agglutinants. Dextrine de- 


Page Forty-eight 


composes almost always, and then the linoleum is constantly 
in dampness. 

Alterations of the linoleum surface are caused by the 
shrinking of the floor or cement through humidity, or by the 
extension of the fabric, especially the granite and_ inlaid. 
Spread the linoleum on the floor and leave it there if possible 
several days to give it time to adapt itself to the peculiar con- 
dition of the floor to be covered. As shrinking is to be antici- 
pated add, when cutting the linoleum, about 2 inches to every 
18 feet in length; that is, leave about 1 inch at each end. 

Wet cleaning of the floors shortly before the laying of lino- 
leum is to be avoided, because the humidity is absorbed by the 
floor and afterward does mischief. The temperature is of influ- 
~ence because the manipulation of cold linoleum is difficult; 
therefore rooms which are to be covered in cold weather should 
be moderately warmed. 

To fix solely the edges is only advisable with plain and 
printed linoleum, and upon a thoroughly dry wood floor. 
Thinner linoleum should in all cases be pasted down entirely. 
To paste down the whole surface is the most rational plan. 
The edges should be pasted down with cement to close the 
joints against the infiltration of water. In this country many 
layers fasten linoleum on wood floors by using tacks along the 
seams only. 

Nails should be avoided. If the floor is level and smooth, 
nails, which will always disfigure the linoleum, are unneces- 
sary, but where nailing is unavoidable, small tacks without a 
head should be used. The joining toward the wall is effected 
properly if the skirting board is afterward put on top of the 
linoleum, or put on so that the linoleum can be shoved under it. 
Or a small ledge may be added to the skirt boarding. To put 
down the linoleum without the least joint between two pieces, 
overlay the edges a little bit, leaving them first free of agglu- 
tinant, then after one or two days cut off the lower overmeasure 
by carrying the knife along the upper edge, cement the edges 
down and burden them. The best loading plates for this 
purpose are made of cast iron. They should be about 17 
inches long, 11 inches wide and weigh about seven pounds. 
They must lie even and may have a solid coat of paint, which, 


Page Forty-nine 


however, must not come off, nor be sticky. If no iron plates 
are at hand, boards loaded with bricks may serve the purpose. 

The linoleum should be laid trending if possible toward 
the windows, because thus the seams are least conspicuous. 
On wood floor, lay it, if possible, athwart the boards. As is 
known, small asymmetries of the pattern cannot always be 
avoided. They are prevented or minimized by commencing 

_ to lay from the middle and by stretching the one piece and 
keeping back the other. Sometimes it is necessary to take 
out a small wedge along the seam where the fault occurs 

Stair steps must not be covered quite up to the front edge. 
The linoleum must only reach so far as to have a level, firm 
~base, and in the front must be sloped by knife or plane; wher- 
ever possible use iron or brass edge rails. Worn out wooden 
steps must previously be equalized by a wood molding; stone 
steps, by filling the cavities with composition, or -by any other 
appropriate method. When making new concrete steps, it is 
judicious to make them with deepenings for the linoleum 
plates, or with holes for the rail dowels, or to apply the rails 
themselves. 

In case humidity has spoiled the cement and threatens to 
cause further damage, the linoleum must be taken up, and 
after being dried must not again be laid till after the floor is 
thoroughly dried out. 


Treatment. 


Furniture moving is injurious to every floor, as well as 
to the linoleum. As a protection from this, and also from the 
pressure of small feet of heavy furniture, celluloid tips are 
very useful. Sand and grit on shoe soles act on the surface 
of linoleum like a grater. 

Good linoleum well and carefully cleaned gains in appear- 
ance by use. The most important part of the treatment, there- 
fore, is the cleaning of the linoleum. Wash and brush it care- 
fully as often as is deemed necessary, but remember : 

Soap contains soda; in good white soap (curd soap) the 
soda is neutralized ; in inferior soap and in so-called soft soaps 
there is an excess of soda, which, by affecting the oil, damages 
the linoleum. Use, therefore, only good neutral soap, and do 


Page Fifty 


not let the soap water dry on the linoleum, but after cleaning 
with clear water wipe it thoroughly dry. Then the linoleum 
will not get grizzly, a defect due only to imperfect cleaning. 
It is to be remembered also that some linoleums can be easily 
injured by water. These goods should be cleaned with a cloth 
that is not wet, but only damp. 

Oil dissolving substances, such as soda, turpentine, ben- 
zine, naphtha or spirits, etc., must not be used. Rubbing the 
linoleum off with milk, as often recommended, is useless; 
rubbing with oil is detrimental to good linoleum, because it 
only smears the surface. Stains will almost always give way 
to soap and brush; stains from rust caused by iron pails, iron 
furniture, feet, etc., and ink stains, can be done away with 
by grinding off with fine sandpaper and linseed oil. Much 
soiled linoleum having a crust of dirt which resists soap and 
scrubbing can be cleaned by scraping off the worst part with 
a sharp blade or similar instrument, and then grinding off the 
linoleum evenly with sandpaper and linseed oil. 

Waxing is only judicious when it is done regularly. Then 
it makes the linoleum glossy and lessens its susceptibility to 
dirt. For rooms very much used, which require often repeated 
wet cleaning, waxing is useless. After each thorough scrub- 
bing of the linoleum, it must be newly waxed; in regularly 
inhabited rooms between whiles rub on—perhaps once every 
week—a little wax, and daily, after sweeping, whisk such 
places as have grown dull with a waxing block, or with brush 
or rubbing cloth. 

Red wax should never be used, as it only smears the 
linoleum and makes a fast sticking dirt crust. Only a little 
quantity of wax should be used at a time, and this must be 
well and thinly dispersed. Wait while polishing it until the 
volatile dissolving ingredients have evaporated. 


Page Fifty-one 


Carpet Moths and Beetles. 


XPERIENCED dealers in the trade need no instruc- 
tion in the matter of protecting their stock from 
moths and carpet beetles; but in the carpet busi- 
ness, as in all others, old hands are constantly 
dropping out, and the new ones who take their 
places are not always well informed on certain 

points of no small importance to every dealer. 





The carpet moth, which is simply the ordinary clothes 
moth, is the best known among those insects that attack car- 
pets, and it is also the one most easily baffled. Camphor was 
long regarded as a sure protection from moths; but it is not 
now considered trustworthy, nor are the cheaper substitutes 
for it, such as camphorette, moth balls, etc., believed to be 
any more effective, either in killing the insects or in keeping 
them out of a carpet. They may protect clothing in which 
no moth in any stage of its existence is present, but when the 
insect has actually been discovered in a garment, carpet or 
rug a stronger remedy than camphor is necessary. 


Most dealers in Oriental rugs now depend entirely upon 
a daily sweeping of their goods with a stiff broom, and this 
is really the only sure protection for rugs, domestic or Oriental, 
and carpets in stock. One domestic manufacturing concern 
producing a great quantity of rugs always brushes the larger 
sizes carefully after the shearing, then rolling each rug sepa- 
rately, wraps it in stout paper and over this covering sews 
another one of burlap. In the case of a stock of carpets in 
a retail store benzine is excellent as a remedy and aspre= 
ventive. None of the insects which prey upon woolen fabrics 
can endure the odor of benzine, and it is sure to kill them if it 
can be brought into contact with them with a brush or else 
as aspray. It can be applied by means of an ordinary atomizer. 

When the carpet to be treated is on the floor not only 
the ends and edges but the entire surface should be sprayed 
or brushed. Benzine has the disadvantage of being very in- 
flammable, and therefore requiring great care in use. A prep- 
aration of cayenne pepper, strychnine and water is said to be 
equally effective; but while not inflammable, it is poisonous. 


Page Fifty-two 


The proportions of the mixture are: Pepper, one-quarter of 
a pound; water, 1 gallon, and strychnine (in powder), 2 
drams. Steep the pepper in the water, then add the strych- 
nine; strain and pour the mixture into a shallow vessel. Take 
up the carpet from the floor, beat it 
well, then roll it up and set each end 
alternately in the vessel, so that the edges 
of the carpet will be thoroughly satu- 
rated for about an inch. The two ends 
of the roll should also be well saturated. 
When the fabric is dry it can be tacked 
down again. Another mixture which 
can be used in the same way is composed 
of 1 pound of quassia chips, one-quarter 
of a pound of cayenne pepper and 2 gal- 
ah a ee lons of water. The preparation in which 
PILLAR. strychnine is employed, of course, re- 
quires careful handling, and if put away 
for future use should be labeled as poison. When either of 
these preparations is used on a carpet which ts on the floor 
the entire surface as well as the edges should be sprayed, just 
as when benzine is employed. 

Corrosive sublimate will kill any moth or beetle, but its 
use demands as much care as benzine. To get the best results 
from it take a wide mouthed earthen jar, pour into it 2 quarts 
of water and dissolve in this a teaspoonful of corrosive subli- 








CARPET BEETLES, 


Page Fifty-three 


mate. The jar should be kept covered and labeled as poison. 
Hang the carpet or rug to be treated on a line, and then brush 
both sides of the fabric with a whisk which has been dipped 
in the mixture. It is not necessary to wet the carpet, a slight 
dampening being sufficient. Gloves should be worn and care 
taken to prevent any of the solution touching the face or eyes. 

When a house is actually infested with moths or beetles 
the carpet should be taken up and all the cracks and crevices 
in the floors and beneath the baseboards sprayed with benzine. 
The carpets should also be well beaten and sprayed before 
being relaid. As an additional precaution, the cracks and 
crevices may be filled with a mixture of plaster of paris and 
water, which will soon set and form a hard substance, which 
the insects cannot penetrate. 

The Buffalo beetle in three stages of existence, and the 
ordinary caterpillar in two, are shown in the illustrations on 
page 53, in which a and b represent the larva forms of the 
beetle, c the insect when it has emerged from the pupal case, 
d the fully developed beetle, with its markings in black and 
scarlet, and e the carpet moth and the caterpillar from which 
it comes. The body and wings of the beetle are black, spotted 
with white, and the stripe running down the centre of the 
back is scarlet. 


Page Fifty-four 


Sprouting. 


PROUTING in ninety-nine cases in a hundred is 
caused by no defect whatever in the carpet, but 
by the use of a broom too coarse and stiff for 
sweeping any kind of carpet. 

The face of a Brussels carpet is composed of 
loops of worsted yarns packed closely together. 

When any one loop has been formed the particular worsted 

thread of which the loop is a portion sinks beneath the linen 

or cotton cross thread, and remains with other threads in the 
body of the fabric until it is required to make another loop on 
the surface. These surface loops are held in position by the 
cross threads (weft), the closeness of the fabric and the in- 
termingling of the various strands of worsted. Not being 
tied or knotted down, should any loop be caught or pulled by 

a sharp point in brush, broom, boot, paw or claw, then the 

worsted underneath will be drawn above the surface, and 

the loose ends and tag will form a case of sprouting. 





The trouble is especially liable to occur in first class goods, 
in which the yarn is fine, soft and highly dressed, and in car- 
pets in which the ground is not well covered. If customers 
seem to prefer carpets having such a ground, it is advisable 
for the salesman to tell them that they must run some risk as 
regards sprouting and also to warn them against pulling out 
any loose threads they may discover. 


Being thus forewarned, the housewife seeing loose threads 
or a kind of fuzzy nap appear does not jump to the conclu- 
sion that she has been cheated, but simply notifies the dealer 
and he can apply the only remedy, which is to clip off at once 
all the loose ends. With careful, close clipping the ends 
gradually get flattened down and the trouble ceases. 

If possible the housewife should avoid sweeping a Brus- 
sels carpet until it has been several months on the floor and 
the loops have been trodden down somewhat. If sweeping 
becomes absolutely necessary no broom should be used, but a 
good carpet sweeper should be run over the carpet very 
carefully. . | 

In most cases of sprouting the dealer may feel assured 


Page Fifty-five 


that the fault is not in the carpet but in the treatment it has 
received in the customer’s house. It is therefore essential for 
him to place all complaints about sprouting in the hands of 
an experienced carpet man competent to remedy the trouble 
and also to-discover its cause. Such a man will endeavor to 
find out whether dogs or cats are allowed the use of the room 
or not. A cat’s claws are capable of pulling out threads in a 
very destructive way, and a parrot can use both beak and claws 
to the same purpose. The casters of all articles of furniture 
in the room should be examined, and likewise all legs of tables, 
chairs, etc., not provided with casters. Besides rough casters 
and jagged ends of wood there are nails in boot heels to bear 
in mind. 

But the greatest danger to carpets comes from the ordi- 
nary broom in the hands of a muscular maid who is not in- 
telligent enough to realize the force she is exerting. The 
carpet dealer cannot dwell too strongly upon the necessity for 
using a carpet sweeper instead of a broom. 


Hanging Window Shades. 


measure first. .With the tape line measure from 
the top of the lower sash to the sill, and double 
this will be the full length, provided, of course, 
that the two sashes are of equal length. If they 
differ in this respect, measure the height of the 

window between the casings. 
Shades may be hung in the run of the window over the 
pulleys, or on the casing or the stop-head. An advantage in 
placing them in the run of the window is that there they will 


not come in contact with the draperies that may be employed. 
The measurements should be taken with a tape line. 


. N measuring a window for a shade take the length 


Page Fifty-six 


Uses for Odds and Ends of Carpeting. 


ARIED indeed are the uses which are found for the 
odds and ends of carpeting, the remnants, clip- 
pings and waste which accumulate in a work- 
room in the regular course of the carpet dealer’s 
business. 

Cuttings of carpets from half an inch up are 
used in innumerable ways. The smaller ones are cut into strips 
and woven, like a rag carpet, into rugs and mats. Larger 
pieces are used for hassocks and ottomans, the tops of parlor 
step-ladders, camp chairs, baby carriages, sleighs, buggies, 
blacking boxes, etc. Mitres are made up into mats, all sizes, 
from a 9 inch to a 34 border being utilized. They are used 
under lamp stands, piano stools, etc., but the greatest demand 
is from hotel keepers, to whom thousands are sold every year 
for use under slop jars, cuspidors, etc., in bedrooms. Large 
quantities of carpet remnants are also sold to slipper manu- 
facturers. Oil cloth stair crash is used for the bottoms of 
hassocks and as binding for the seams. Cuttings of Wilton 
and Velvet carpet find ready sale among hatters, who have 
long since learned that they make better brushes for silk hats 
than the article specially manufactured for the purpose. 

Ravelings of Ingrains are sold to be woven into mats. 
Large quantities are sent to charitable institutions, and one 
leading house, as soon as its travelers have prepared their In- 
grain samples, sends many pounds to Ward’s Island, where 
they are fashioned into many curious and sometimes very hand- 
some rugs by the lunatics in the asylum located there. Very 
many are also sold to men who make the toy balls guaranteed 
not to break windows. Drugget clippings are used for weather 
strips, and are also made into list carpets. 





Remnants and shavings from sheet oil cloths have long 
been known in the hospitals as valuable for splints. The 
lighter oil cloth remnants, narrow goods, find ready sale among 
a certain class of shoemakers, who utilize them for insoles 
and will pay from five to seven cents a pound for them. Still 
larger pieces are sought by makers of barber chairs, who use 
them as covers for the foot rests. 


Page Fifty-seven 


Pieces of China matting make ornamental baskets, flowe1 
boxes, Japanese screens and other articles. The white is more 
in demand and commands a higher price than the fancy or 
red check. The wrappers which come around China mattings 
are purchased at one and two cents apiece by the wholesale 
produce dealers, who use them for heading up barrels. 

Bits of plush disappear into buttons for upholstered fur- 
niture, and cretonne cuttings are sold by the pound to the fancy 
stores for slipper bags and other like articles. Where the 
figure is complete they are used for panels. 

And when the workroom is swept and there seems nothing 
left, the hassock maker will buy the small bits for hassock 
ears, while the rest can go to the “devil machine,” where it is 
ground into shoddy. 


Page Fifty-eight 


Making a Rug from Pieces of Body Carpet and Border. 


HE carpet workroom force can often be utilized to 
considerable advantage in the making up of rugs 
from body carpet and border, and there is prob- 
ably no other way in which remnants can be em- 
ployed more profitably. 

Two breadths of carpet with a 5-8 border 
will make a rug 8 feet 3 inches by Io feet 6 inches, but a more 
salable size can be made by using three breadths of carpet, as 
this will give a rug 10 feet 6 inches wide, while the length may 
be 15 feet or more or less. In arranging the borders for such 
rugs the cutting of the mitres leaves pieces which can be best 
utilized in making a smaller rug, by using three full mitres and 
two half mitres. After the sewing this small rug, if made of 
5-8 border, will be 3 feet 8 inches in width and length. 

In making the large rug the border is sewed together 
first; next the three breadths of body carpet, and then the 
border is sewed to the body. The next operation necessary is 
the stretching of the rug, and before this is done a strip of 
webbing should be sewed all around the rug. It is then laid 
face downward on the workroom floor and nails are driven into 
the webbing not more than 4 inches apart, a carpet stretcher 
being used in this process. The back of the rug is then rubbed 





over with a wet sponge and the seams are pressed down with 
a long-handled pressing iron made for the purpose. As the 
rug has been stretched while being nailed to the floor the 
additional stretching caused by the shrinking of the fabric, as 
the water and sizing dry, is sufficient to remove all wrinkles. 
When the nails have been taken out and the webbing removed 
the rug should be perfectly smooth and lie flat on the floor. 
It should then be rolled carefully on a pole so that it may be 
kept smooth. 

In some carpet workrooms it is customary to make up two 
rugs at the same time, in order to save the material cut out 
in forming the mitres. For instance, by making two rugs at 
once, each 8 feet 3 inches by 10 feet 6 inches, it is possible to 
save 5 yards of border by cutting a mitre for one rug and then 
utilizing the next mitre made by transferring it to the other 


Page Fifty-nine 


rug. An objection to this method is that it affects the appear- 
ance of the rug, for when the outer edge of a border is made 
the inner edge the fact is always apparent at a glance. 


Page Sixty 


leysMingie GUE 


Dictionary of Carpets, Other Floor Coverings 
and Wee Terms. 





Art Loom Rugs.—The distinctive feature of these rugs is 
that they are woven two at a time, face to face, and then 
separated by the passage of a knife between the two faces. 
In separating the two rugs the knife forms a cut pile re- 
sembling that of the Wilton fabric. The rugs are then 
sheared, steamed through the back, resheared, brushed and 
put on drums for a second steaming process, which raises 
the pile and gives it a beautiful sheen. The rugs are made 
in one piece in all the usual carpet sizes. The weaving 
is done with a power loom with a Jacquard attachment. 
Although the face of the rug resembles the Wilton weave, 
an important difference is that all of the worsted or wool 
used is on the face, none being buried in the forming of 
the pattern. The process is covered by numerous patents. 


Art Square.—An Ingrain, Pro-Brussels or Granite carpet 
woven in one piece. 


Aubusson Carpets.—These carpets are made in the tapestry 
factories at Aubusson, France. The warp is cotton and 
the weft consists of woolen yarns of the color called for 
by the design. The weaver works at the low warp tapestry 
loom, which is always used in making Aubusson tapestry, 
and the carpet he weaves differs from the tapestry mainly 
in being of thicker and coarser weave. The weft yarns 
are inserted in the ground of the carpet by hand, as the 
design indicates, the workman using for this purpose a 
small bobbin or broach similar to that which is used in 
making a Gobelin tapestry. 

Axminster Carpets.—The old-fashioned hand-made Axmins- 
ter carpet, better known now as the hand-tufted rug, has a 
warp of linen or cotton threads and a pile of woolen tufts 
tied on the warp by hand after the Oriental method. 


Page Sixty-one 


In the machine-made chenille Axminsters, the chenille 
is first woven so as to form a double fringe of colored 
yarn with a fine thread running along the centre to keep 
the lengths of wool taut. This fabric is then cut into 
strips, each of which is bound into a V-shape, so that the 
double fringe becomes a series of thick tufts of wool side 
by side and firmly held together by the binding thread. 
This chenille is then ready to serve as the weft of the carpet 
fabric, being laid across the warp threads and woven into 
place in the loom. A hand loom with a catcher and binder 
warp was used for all chenille Axminsters wider than 27 
inches until about twelve years ago, when the Persian Rug 
Manufactory began to employ power weft and setting 
looms of widths up to 25 feet. 

In the American machine-made Axminster carpet, 
formerly called Moquette, the pile consists of tufts of 
woolen yarn which are inserted in the warp and woven into 
the body of the fabric by an ingenious and complicated 
mechanical device, which serves as a substitute for the 
Oriental method of tying tufts of wool on a warp in a hand 
loom with the fingers. 


Batten, Lay or Comb.—A swinging bar which beats up or 


forces closely together the weft varns in the operation of 
weaving. 


Beam.—A round, horizontal part of a loom, on which .the warp 


or the woven fabric is wound. 


Bobbin.—A spool carried by the shuttle and on which the weft 


or filling is wound. 


Body Brussels.—The carpeting known as Body Brussels con- 


Page Sixty-two 


sists of a worsted yarn built upon a linen or cotton chain 
and a linen weft. The worsted warp which forms the face 
of the carpet is wound on reels or bobbins arranged on 
large horizontal frames, which are placed one above the 
other in the rear of the loom. Each reel supplies one 
thread of worsted to the loom. The loops which appear 
on the face of the fabric are made by the insertion of wires 
when the worsted warp has been raised by the operation 
of the Jacquard. These wires are withdrawn and inserted 
again at regular intervals as the weaving proceeds. Each 


yarn is raised into the face of the carpet or dropped into 
the body according to the pattern on the Jacquard. ‘The 
number of frames used never exceeds six, and when more 
than six colors are required by the pattern they are ob- 
tained by “planting” warps of different colors on the same 
frame. The materials used in Body Brussels carpet are a 
cotton small chain, a worsted warp thread, a jute stuffer 
chain and a linen filling or weft thread. 

Wilton carpets are woven just as Brussels are, except- 
ing that the wires used in-making Wiltons have a sharp 
blade attached, and so.arranged that when they are drawn 
out the blades cut the loops open, and thus form a plush 
surface. The pile of a Wilton carpet is higher than the 
loops of a Brussels, because the wire used is generally 
thicker. Another difference is that there are three shots of 
linen weft thread in Wilton to each wire, while in Brussels 
there are but two shots. 

Brussels, Stouts.—A Brussels carpet having from 208 to 220 
ends of worsted warp to each frame instead of 256 ends, 
as in regular five frame Brussels. In weaving Stouts, jute 
yarn is used to replace the worsted yarn omitted, and also 
to give body to the fabric. 

Brussels, Tapestry.—See Tapestry Carpets. 

Chain.—The warp thread of a fabric; the pattern chain. 

China Matting.—See Straw Matting. 

Cloth Beam.—The bar on which a fabric is wound as it is 
woven in the loom. 

Cocoa Matting and Mats.—The material used in these goods 
is a yarn spun from the fibrous rind or husk of the cocoa- 
nut. The yarn is imported from India. The ordinary 
matting is woven with a kind of twill formed by the 
manipulation of the warp in a particular manner, and a 
striped appearance is given when desired by reversing the 
order in which the warp threads are drawn into the har- 
ness. To make colored stripes the warp threads are dyed 
and then arranged on the beam to get the effect desired 
in the woven fabric. 

Cocoa mats are made in two ways. In one method 
the filling yarn is inserted in the warp and wound on a 


Page Sixty-three 


metal rod, which has a groove in it. A straight thread is 
run through as a binder, the filling is then cut by running 
a knife along the groove, and a cut pile is thus produced 
on the face of the mat. In the other process the yarn is 
twisted into a thick braid, and a piece of this long enough 
for the purpose is placed on a sort of table and woven into 
a mat by the hands of the workman, no loom being em- 
ployed. 

Color, Complementary.—One of two colors which when com- 
bined produce white or nearly white light, as orange and 
blue. 

Color, Primary.—1. The principal colors into which white 
light is separated by a prism. 2. Those colors which when 
mixed (in pigments) produce any color, as red, blue, yel- 
low. 

Color, Secondary.—Three colors, each of which is formed by 
mixing two so-called primary colors, as green (blue and 
yellow), orange (red and yellow), and purple (red and 
blue). 

Color, Tertiary.—A color such as olive, russet or citrine, pro- 
duced by a mixture of a primary and a secondary color. 

Comb.—See Batten. 

Cop.—A conical roll of thread or yarn found on the spindle of 
a spinning machine. 

Cop Tube.—The tube on which the thread or yarn is wound. 

Cork Carpet.—A fabric resembling plain linoleum and made in 
the same manner except that in the mixture of linseed oil, 
ground cork and other materials employed the proportion 
of cork is larger and the result is a softer, more sponge- 

like surface. The cork used is not ground so finely as it 
is in making linoleum. 

Cotton Chain.—See Ingrain Carpet. 

Doone Rug.—A three-ply, seamless, reversible Scotch weave 
rug. The Afton rug is a two-ply fabric of the same weave. 

Drop Box.—A box used in a figure-weaving loom to hold a 
number of shuttles, any one of which may be brought into 


operation as desired. 
Drop and Set Patterns.—In a drop pattern the upper half of 


Page Sixty-four 


the figure matches the lower half of the figure on the 
opposite side of the breadth. 

In a set pattern the same figures match directly op- 
posite—that is, across the breadth. 

A drop pattern cuts at a set only on alternate breadths. 
On one breadth half the length of the figure must be wasted 
to get a match. 

Extra Super Carpet.—See Ingrain Carpet. 

Fiber Carpet.—This is a fabric invented and first manufac- 
tured by Frank F. Hodges, of Boston, Mass. A long 
staple vegetable fiber is converted into paper, which is 
then cut into long strips and spun into threads, and these 
when dyed are used as the weft in weaving the carpet, the 
watp being cotton. Woolen yarn may be used as the weft 
in combination with the fiber threads. 

Filling, Weft, Woof.—The threads or yarns thrown by the 
shuttle through the warp from selvage to selvage. 

Floor Oil Cloth.—This fabric is composed of a foundation of 
jute burlap which, after being sized and rubbed smooth 
and even, is covered with a mixture of ochre, linseed oil 
and benzine. This coating process is performed several 
times. The printing of the pattern on the coated fabric was 
formerly done entirely by hand, but now machinery is 
used. In printing by machinery the cloth passes over a flat 
table, and under wooden printing blocks, which have a 
rising and falling motion. Each color used in the pattern 
requires a separate block. The pattern is carved on the 
blocks in relief. 

Granite Carpet.—This is a two-ply fabric made on an Ingrain 
loom. It has two warps, one of cotton and the other of 
jute. The filling is cotton. Sometimes cotton warp is used 
instead of jute. The pattern is formed by the warp. 

Hand-Tufted Rugs.—This name is now applied in the trade 
to rugs made in Europe by a method similar to that of the 
Oriental weavers. They were made in France in the reign 
of Francis I; in Italy and Spain somewhat before that 
period, and in England at Mortlake under the patronage of 
James I, This industry was afterward removed to Wilton. 
In the latter part of the eighteenth century the manufac- 


Page Sixty-five 


ture of such rugs was begun in a factory near Vienna, also 
in Holland, and in 1840 I. Ginzkey began to make them in 
the firm’s works in Bohemia. They are also made in several 
factories in Germany. About twelve vears ago Alexander 
Morton & Co. introduced the industry in Ireland, the result 
being the rug now known as the Donegal hand tufted. The 
manufacture of hand-tufted rugs was begun in America in 
1884 by the Persian Rug Manufactory, but was discon- 
tinued some years ago on account of the high cost of labor 
in this country. 

Harness.—<An apparatus used for lifting threads in a loom. 

Harness Frame.—<An upright board for guiding the cords of a 
loom harness. 

Harness Shaft.—A device for holding and guiding the heddles 
in a loom. 

Heck.—A vertical grated frame, through the meshes of which 
the warp threads pass. 

Heddle or Heald.—A series of vertical cords or wires, each of 
which has in the middle a loop or eye, which receives a 
warp thread. The heddles pass around and between paral- 
lel bars, forming part of the harness, and by rising and 
falling alternately cross the warp threads and form sheds 
for the passage of the shuttle. 

Hemp Carpet.—A fabric made with a jute warp and filling in 
two or more plies. Sometimes the warp is cotton. 

Ingrain Carpet.—Ingrain is a carpet made of two plies or 
webs. The warp may be worsted or cotton. Each ply has 
its particular color. The warp threads are moved by the 
Jacquard. For a two-color effect the filling threads are 
thrown by the shuttle from right to left and then about or 
back again. In the shotabout ply two or more shuttles are 
used. When both plies are shuttled with two colors each 
the weave is called a doubie shotabout. In a plain and 
shotabout weave, one ply is plain and the other is a shot- 
about ply composed of threads of two or more different 
colors alternating and giving the effect of three colors in 
the carpet. In double shotabout each ply is a shotabout 
one, giving a design in four colors. Until the invention of 
the mate thread weave two dark threads could not be 


brought up together in a carpet, it being necessary to bring 
a light one up with a dark thread or vice versa. ‘The mate 
thread device, by enabling the weaver to bring up either 
light or dark threads together, made four-color effects pos- 
sible. | 

Union Carpet is an ingrained two-ply fabric in which 
the filling is other than all wool. 

An Extra Super is an Ingrain carpet in which the 
warp is always worsted and the filling wool. 

Cotton Chain carpet is an Ingrain carpet in which a 
cotton chain is used instead of a worsted warp. 

Jute Ingrain is made like an Ingrain carpet, but with 
a cotton warp and a jute filling. 

Jacquard.—An apparatus used for weaving figure patterns. It 
consists of a chain of perforated cards, which move over 
a rotating prism. The perforations permit the passage of 
wires, which determine by their movements the raising of 
the warp threads, and thus cause the figure to be woven 
in accordance with the arrangement of the perforations. 

Japan Matting.—See Straw Matting. 

Jute Ingrain.—See Ingrain Carpet. 

Kidderminster.—An Ingrain carpet, so called because first 
manufactured largely at Kidderminster, England. 

Kilmarnock.—This is a name given to a rug made in this 
country which is similar to the Scotch Art Rug, but is 
bound in a different manner. The back is closely bound, 
each warp thread stitching it down as if it were done by 
a sewing machine. The back has double the number of 
binders that are in the face, and the binding is done in 
such a way as to bury fully the warp, thus protecting it 
from wear. Strong stuffer warp running in the centre 
holds the binders in solidly with the woof. This process 
results in two distinctive weaves in one, and renders pos- 

_ sible raised or embossed figure effects. 

Lay.—See Batten. 

Lignitect.—This is a fabric which resembles linoleum, except 
that ground wood is used in it as in linoleum ground 
cork is employed. The woods most commonly used are 
white poplar and horse chestnut. 


Page Sixty-seven 


Linoleum.—In the manufacture of linoleum a jute burlap 
backing or foundation is covered with a paste-like mixture 
consisting mainly of ground cork and linseed oil, the oil 
having been previously solidified by a drying process. The 
coating is fixed upon the burlap evenly and firmly by the 
passage of both between two cylinders. If the linoleum is 
to be plain—that is, of one uniform color—the coloring 
matter is added to the mixture before it is rolled upon the 
burlap. If the linoleum is to bear a pattern this is printed 
on the surface of the fabric by means similar to those 
employed in the printing of floor oil cloth. In making 
inlaid linoleum the paste-like mixture is fixed upon the 
burlap by several different methods. In one process the 
mixture and the burlap are united by machinery which 
cuts the composition into pieces and then presses these 
pieces upon the burlap. In another process the mixture is 
cut by dies into pieces, which are fixed upon the burlap by 
hand. In forming some patterns stencils are employed. 
In making oak-plank linoleum the mixture is colored in 
two tones, each of which is placed on the burlap in a 
separate channel. In granite linoleum the composition 
consists of a mixture of colors. 

Linoleum Cement.—A combination of chemicals which pro- 
duces a liquid glue or cement with minimum quick drying 
and maximum toughness as its principal properties. It 
should be tough and tenacious, and hold the linoleum in its 
original position. Cements in liquid form go farther, 
hold better and are always ready for use. They should 
be waterproof and not subject to decomposition. 

Loom.—A machine in which yarn or thread is woven into a 
fabric by the crossing of the warp or chain by other threads 
called the weft or filling. 

Moquette Carpet.—The old-fashioned French Moauette is a 
cut pile carpet resembling Wilton, but woven on a hand 
loom. The American carpets made on power looms, and 
formerly known as Moquettes, are now called Axminsters. 
See Axminster Carpet. 

Napier Matting.—This species of floor covering differs from 
hemp (jute) carpet mainly in being composed of larger, 


Page Sixty-eight 


on 


hay, 


heavier yarn. The warp and weft are usually jute, but 
sometimes the warp is cotton. 

Oriental Rugs.—These fabrics are made by attaching threads 
of wool to a warp of cotton or wool by running knots, then 
inserting a weft of cotton or wool for the back, pressing 
the knots home with a wooden or iron comb, and finally 
leveling the woolen pile with a pair of scissors. The loom 
is a simple vertical frame carrying two horizontal beams, 
one about a foot from the ground or floor and the other 
six or seven feet above. The warp is coiled around the 
upper beam, and when fastened to the lower one also is 
pulled taut enough to keep the threads straight. The 
Oriental rugs best known in the United States are made in 
Persia, the Caucasus districts and Turkestan. Turkish and 
India rugs are also imported here to some extent, but in 
much larger quantities to Great Britain and the Continent 
of Europe. 

For a comprehensive, up-to-date treatise on rugs of 
the Orient the reader is referred to a book entitled “Ori- 
ental Rugs and Carpets,’ in which the salient features, 
designs, colorings, etc., of every kind of Eastern rug in 
the market are described fully, and also shown by illustra- 
tions, so that the salesman can soon learn to distinguish 
at once the various species and grades. This book is pub- 
lished by The Review Publishing Company, 31 East Seven- 
teenth street, New York. Price, $1.50. 

Pattern Card.—The perforated card in a Jacquard aD Baits: 
representing part of the pattern. 

Pattern Chain.—A device for operating the shuttle in figure 
weaving. 

Pick.—1. The blow that drives a loom shuttle. 2. A unit of 
speed or measurement of work done by a loom. 

Picker Staff (or Stick).—A lever used to impart motion to a 
shuttle. 

Pro-Brussels.—A carpet woven on an Ingrain loom but with 
both faces bound together. The warp threads are of jute, 
one-half of them being used for binding threads and the 
other half as a stuffer. The pattern is produced entirely 
by the interweaving of the weft, which is wool. 


Page Sixty-nine 


Rag Carpet.—The old-fashioned rag carpet is made with a 


cotton warp and a weft composed of rags which have been 
cut into strips and then sewn together. In the modern 
factory-made rag carpet strips of new material are em- 
ployed instead of rags. 


Reed.—This part of a loom consists of two horizontal bars, 


connected by thin parallel strips between which the warp 
threads pass. It is used to keep the threads separated from 
one another, and also to preserve the proper distance be- 
tween the selvage threads. 


Savonnerie.—The French carpet known as Savonnerie is 


woven by hand in one piece on high warp tapestry looms 
in the Gobelin tapestry factory, but Savonnerie carpets are 
velvets, not tapestries. The warp is wound vertically on 


- two horizontal cylinders, and arranged as in the tapestry 


loom, but the worsted woof threads, which are to form the 
surface or pile of the carpet, are fastened by a double knot 
on two threads of the warp, which is of wool and double, 
combining itself with the threads of the surface, and bound 
in by a hemp weft, which does not appear on the surface. 
The pile is clipped by hand with shears, and in the highest 
grade goods this is generally done so that the design is 
brought out in relief. 

In the United States the name Savonnerie is also 
given to a carpet woven like the American Moquette or 
Axminster on a power loom, but of somewhat thicker, 
heavier weave. 


Scotch Art Rugs.—These goods are similar in weave to the 


Ingrain Art Squares, but the wool or worsted yarn used 
is heavier and the fabric is more ‘closely bound. It is 
woven in one piece, and with either two or three plies. 
Some manufacturers vary more or less the process of 
weaving the rugs, and have special names for the goods. 


Set Pattern.—See Drop Pattern. 
Shade.—A color mixed with black. 
Shuttle.—A _ boat-shaped piece of wood which holds the bob- 


bin from which the weft thread or filling unwinds as the 
shuttle moves to and fro between the warp threads. 


Shuttle-Box.—1. A case placed at the end of the shuttle-race 


Page Seventy 


to receive the shuttle after it has been thrown by the 
picker. 2. One of a series of compartments containing 
shuttles carrying different colored threads. 

Shuttle-Race.—The track on which the shuttle travels in a 
loom. 

Skin Rugs and Mats.—These goods are made from the pelts 
of goats, sheep, tigers, bears, wolves, foxes, dogs and other 
animals. The first step in the manufacture is the salting 
of the pelts, then follow the soaking, scraping and scour- 
ing, stretching of the skin and applying a solution of alum 
and salt to the flesh side to close the pores and tighten the 
roots of the fleece. The dyeing of sheepskin mats is a 
difficult operation, requiring long experience -and great 
care. 

Smyrna Rugs and Carpets.—In making Smyrna rugs and 
carpets dyed woolen yarn is woven as weft in the weft- 
weaving loom so as to form the pattern. While the weav- 
ing is progressing the cotton warp yarns are twisted by the 
movement of a cam. When the weft has been woven it 
is cut into strips which, owing to the previous twisting of 
the warp, form at once the fur-like shape characteristic of . 
chenille. The strips are then used as weft in the setting 
loom, in which the warp is cotton, and jute yarn is woven 
in as filling between each strip of chenille. The fabric 
comes from this loom with the pattern exactly reproduced, 
and as the wool yarn is on both sides the fabric has two 
faces. 

Straw Matting.—The matting which comes from China and 
Japan is made from a species of reed or grass which grows 
in those countries, but in a large proportion of the mat- 
ting made in Japan the straw used is smaller than that 
which is generally employed in China. In both China and 
Japan the loom on which the matting is woven consists 
merely of an upright bamboo framework with cylindrical 
crosspieces above and below, over which the jute or cotton 
warp runs. The movement of the warp is governed by 
the weaving beam or bar, a piece of wood 2 inches square 
and pierced with small holes to receive the warp threads, 
the front row of holes being about three-sixteenths of an 


» Page Seventy-one 


inch to the right or left of those on the opposite face, 
through which the other row of warp is threaded. The 
weaver handles his bar by means of a peg inserted mid- 
way in it. When the peg is turned up the front row of 
warp threads moves back, and when the movement of the 
peg is reversed the back row of threads moves forward. 
Between each upward and downward turn of the bar the 
weaver’s assistant draws from a bundle a straw of the 
color called for by the pattern, catches it in a notch cut 
in the end of a slender piece of bamboo about 4 feet in 
length, and holding the straw in this way places it hori- 
zontally between the two rows of warp threads. The 
weaver seizes the end of the straw, which passes beyond 
the left-hand selvage and twists it around the selvage 
cord, while the assistant twists the right-hand end in the 
same way. Then the beam is brought down with sufficient 
force to press the warp straws closely together. 
Tapestry and Velvet Carpets.—The salient feature of the 
manufacture of Tapestry or Tapestry Brussels and Vel- 
vet carpeting is the printing of the pattern on the yarn 
warp, thread by thread, before the carpet itself 1s woven 
on the loom. ‘The pattern is drawn and colored on rule 
paper, just as the Body Brussels pattern is laid out, and 
this paper is cut into strips which serve as guides in the 
dyeing of the yarn. The white yarn is wound around a 
large drum, and underneath this is a small carriage run- 
ning on rails, and containing a quantity of dye in which a 
wheel revolves, the top of the wheel being just high enough 
to touch the thread on the drum, and thus cover it with 
dye. The printer, referring to his pattern, sees the color 
needed for, say, the first square in it, and the carriage is 
then passed along the rails, so that the color required is 
printed or ruled across the thread. The thread is removed 
from the drum when all the colors needed for it have been 
applied, and after steaming and drying it is wound on a 
spool, and is then taken in hand by the setters, who draw 
each thread out side by side and move each one to its 
proper place as it appears in a somewhat elongated copy of 
the pattern, which is placed on the setting machine under- 


Page Seventy-two 


neath the threads. As a certain portion of the threads is 
passed it is wound on the roller at the other end, and when 
the setting process is completed the yarn on this roller is 
ready to be woven in the loom. Tapestry carpeting has a 
jute stuffer yarn, a cotton chain, and a linen, jute, or cot- 
ton weft, which serves as a binding thread for the wool or 
worsted loops, these being made over wires, as in the 
weaving of Body Brussels. 

Velvet carpeting is the same as Tapestry Brussels, 
excepting that the wire used in the weaving has a knitfe- 
like edge which cuts open the loops as it is withdrawn and 
forms a pile surface as in Wilton carpeting. The best 
Velvet carpets also resemble Wiltons in having three shots 
of filling weft to each wire, but in the medium and lower 
grades only two shots are used. 

“Surface” or “machine printed” Tapestry and Velvet 
carpets are made by weaving yarn undyed or of a uniform 
color or tone ona Tapestry loom, with the loops cut for 
Velvet or uncut for Tapestry. The fabric is then submit- 
ted to the action of a printing machine, in which the car- 
pet is wound upon a large drum, and pattern rollers, en- 
eraved to produce the design desired, revolve in contact 
with the face of the fabric, one roller being used for each 
color. By this method of applying the colors they are 
printed not only on the face of the carpet but through the 
fabric to the back. 

Temple.—An attachment to a loom which holds the last woven 
part of a fabric stretched to prevent chafing of the warp in 
weaving. 

Three-ply.—A carpet woven on an Ingrain loom, but with 
three plies instead of two, and therefore not an Ingrain 
weave. 

Tint.—A color diluted with white. 

Union.—See Ingrain Carpet. 

Velvet.—See Tapestry and Velvet Carpet. 

Venetian Carpet.—This is a two-ply carpet, having a wool or 
cotton warp and a jute filling. The warp is colored and 
makes the figure effect. A Jacquard is used, but in a form 


Page Seventy-three 


much less complicated than is necessary in weaving an 
Ingrain carpet. 

Warp.—The threads or yarn running lengthwise in a fabric, 
and between which the cross threads of weft or filling are 
woven. | 

Warp Beam.—The roller on which the warp is wound. 

Web.—A textile fabric, a name used especially to designate a 
fabric in the piece or being woven in the loom. 

Weft, Filling, Woof.—See Filling. 

Weft Fork.—That part of the stop motion which causes the 
stoppage of the loom when a filling thread breaks or fails. 

Wilton.—See Body Brussels Carpet. 

Woof, Weft, Filling.—See Filling. 

Wool Dutch Carpet.—These old-fashioned and practically ob- 
solete floor coverings were made with a heavy warp and a 
thick single filling. The warp was woven in so as to form 
the stripes, making what is called a Dutch plaid pattern. 
The Jacquard employed was of a very simple kind, having 
but one card and resembling that which is used for weav- 
ing plain Ingrain filling. 


For fuller information on the subject of floor coverings 
the reader should consult a book called “The History and 
Manufacture of Floor Coverings,’ in which the manufacture 
of all kinds of carpets, rugs, mattings, linoleums, floor oil 
cloths, etc., is described in detail, with numerous illustrations. 
The book is published by the Review Publishing Company, 31 
East Seventeenth street, New York. Price, $1.00. 


Page Seventy-four 






































H%Gs| FE 
ce ge Ure 408 | 48 
“re ze | Fe 
ag If %86 48s Vee 
$B] 16S | 486) %7L6| 4486 






































































































































ing] 























Qi ® 


ool 































































































































































































































































































































































































































































































Jog) 14D | 1Og}31d9D | 10g 
MZ iM BQ IMZg | MG (MG 
"OPIM «=| OPIM | “OPIM 




















91} %OL |“Sl|/%K8 | “bl 
¥El 26 cI “8 PI 
4%; 6 |%Pllyed 
KG) 4B |WPl HL |e 
Ke x9 | F109 
“Ppl| %L |%8l|%9 
wbl| KM |KSliKS |% 

ete gr KS |Kel 
Jog} 3149 |10q|3d9 |10q 
MG |M BE | MZ IME [MG | M F 
“OPIM =| “OPIM 
REEL [9-01 

















ee er ry saqouy 9 J994 61 





ae meee eee tees ee weeees ‘oO 61 


Pi Win, ene soyouy 91994 BT 


Pers wyaqe) Aveneehe well) 490m BI 











sietenateniwel 8 eraua is soyouy 9199 LI 








eeass ee a ee) "90g oT 





Ee So AOAe sayoul 9 1994 QI 





eeevee RE ee Seer OO Ty 9I 


é fatavs pajamen eetees soyoul 9 }994 cl 


























ents oes te tees 
thr comets sada ouir VOTE 
Tee Rema hebemeeeqggar FL 
viorss sss gayouy 9 190g EI 
Tbh Waa eer 
tvs dee geuonr goa niet 
ue ee res, 


eeeeee EE IE | 9 1994 Ir 





eee ee ce cee ee see ee Oe i il 








a Cat a We et Le a RGR eae) | OL 
ee Bac Geousupleneania: 


Picante breseeereeereaggg 








(‘punoze [[e pelepi0g) 
‘HLONGY 


‘BUITIDJEU IO} Opeul ddUBMOT[e ON 


‘9ZIG UIAID Jo sjodivy J0¥ posmnbsy s9psog % pue Apog Ye jo soizWuRNd SuUIMOYS 921qR] 


Page Seventy-five 


TABLE SHOWING HOW ANY LENGTH CARPET PATTERN CAN BE CUT. 
TO BEST ADVANTAGE. 











—_— 


ftin ftin ftin fin -ftin ftin. ftin’ ft in’ oi ioe 

13. ita eat Cutsem ates cut 8.8 9.9 1OTLO 11211 13.05 Ia eo Oa ote 
17 a oe ‘* as 8.2 O42 ASG) els 1S CLO eI SOR ee One 17.6, 1838 
Tier re 3 1020) dee. 1O.6) 18.9 © 150 WO ese eee ee ne 
Ee Lae ATOes rae 0 eds el 4a Se Gs eer iene Sp ate “7 
oD ve ne a a Oss V4 Gg 12298 TAO IT 0 Looe Oe wate 
[Sea my * OYE LOG ele Oe Lore 25.0 of. Ger SO me bone eee Bn 
LO Bere A ie O56 Ill lO eked 459) eel bo 0 BE eb. LO” amen as rare 
BOR £7, 3% 10 c0te dalek: LO aaa Oe OGALG eel Stee Une oe aes es 
rales Tay < a TO) Gh oeS 1408 8 0) Gees: Os een Paste ifee EGete 
Ne ae : rr U1. 0. le VON Tae OG eee aan Pivbe SEAg We ie 
23 n te re VU 6a ase ae alc oo eLOe ee del la eornl eave ine ata 
24 . — 10-20° 12.0 14.0 V1GS0 “18208 2050 eer Ome aa eae sae 
25 a % 10.5 1966" Te 7 168) 18 69) 420 102 lao iene akg 
Cah xe a 10.10 1330" 5.21%. 4 1986 21-08 2310s oad ater stats 
AM hee 5 vs 11:30) 43-6 4 15675-1820 20038 2256 e+ oes Siar oe 
oS ae ; VS 140 164s SCS S220) 23a 2b cece AS? 2 ele 
207 - ne 127 eB TGS 9402150 (245 ose oa SC ivke 
3 - ys o 10.0. 1226 -1520) 1726. 20.0" 226" 25. Om ei omes a sete 
Po) as - ay 10 j46 VOT 1546 8. 2008. 23.3) 2b stORe somal ae 
Sores vi 10.8 13.4 46.0 US8S.8 21.4 24°50 2628 S20 seo ee Bias 
33° *f oe 11.0 13.9 16.6: 19°58 22.09 24. 9).27 262 20Remeoseu are 
34 s SY 1124 14.7 17.0. “19.105 228) 25.6) 28 See eee is 
30 aby its De heel Arey, 20.5 93.4. 26:3-929 72) Spe eo widte 
36 + 3 9.0: 12.0 ° 25.0 18.0 2150) 24.0% 27705 300g oaneamoorm 
Sul 7 o 9.8 12.4 15.5 18.6 20.7 24.8 22779) SOSlOe poesia 
Base Y ae os 9.6 12:2 15.10 19.0 22.2 25.4 928.56) alse sees 
39 A F 9.9 13.0° 16-38'19.6 22.9 26.0 2953 5eeeebens we eee 
40 a Og 10.0 18.4 16.8 20.0 23445 2678 S020 m esac eee tected 
41 ' oe ay 10.3 28.8 17.1. 20.6 23-11) 27 24) SOR Sites rere 
ADS. ty “S 10.6 14.0 17.6 ° 21:0. 94.6 22820 3315 Giesb One ee ome caG 
AS tees = * 10.9 14.4 17.11. 21.6 2b.1, (28.8. S2eSeesh lO seo ome 
44 : oe 11.0 -14.8 18.4 22.0 25.8 295433) 0 S6- Ged Graeme ene 
45 : Se ee 1173> 15:04 18.97 22.6, 226735307 0eoome 37.6 4a 45" 0 
oe a a ee ee ES ee 


In making your calculations do not figure too closely, as some carpets stretch 
or shrink a little, or a new piece of the same pattern may occasionally be made 
half an inch smaller or larger by the manufacturer. 

ROOMS OF THE SIZES INDICATED BELOW WILL TAKE THE QUAN- 
TITY OF 3-4 CARPETING SPECIFIED, NO ALLOWANCE 


BEING MADE FOR WASTE IN MATCHING. 


me ______—_ 


Size Size Size 

Room. Breadths. Yds. Room. Breadths. Yds. Room. Breadths. Yds. 
Om5cL9 4 12 14x19 6.2 41uy 18x17 8 4514 
G 10.6154 14 14x20 6.2 4314 | 18x18 8 48 
9 x12 4 16 14x21 6.2 45% | 18x19 8 50% 
9 x13.6 4 18 15x14 Cd 3224 | 18x20 8 5314 
9 x15 4 20 15x15 i" 35 18x21 8 56 
9 x16.6 4 22 15x16 7 3744 | 18x22 8 5828 
9 x18 4 24 15x17 Vi 3924 | 18x23 8 6114 
10 x9 4,2 13.2 15x18 7 42 18x24 8 64 
10 x10.6 4.2 15.2 15x19 7 4414 | 19x15 8.2 42.2 
10 x12 4.2 18 15x20 7 4624 | 19x16 8.2 45 Ve 
10 x13.6 4.2 2014 15x21 7 49 19x17 8.2 4814 
10 x15 4.2 22.2 15x22 v 5114 | 19x18 8:3 51 
10 x16.6 4.2 24.3 15x23 V4 553% | 19x19 8.2 535-6 
10.6x10.6 5 a 15x24 7 56 19x20 8.2 56% 
10.6x12 5 20 16x15 vee 37.2 19x21 8.2 59% 
10.6x13.6 5 22.2 16x16 7.2 4034 | 19x22 8.2 621-% 
10.6x15 5 25 16x17 7.2 42.2 19x23 8.2 65 Ye 
10.6x16.6 5 Diee 16x18 Tee? 45 19x24 8.2) 6S 
10.6x18 5 30 16x19 7.2 47-9 20x15 9 45 
12 x12 5.2 22 16x20 7.2 50 20x16 9 48 
12 x13.6 5.2 24.3 16x21 hare 52.2 20x17 9 51 
12 x15 5.2 27.2 |. 16x22 7.2 55 20x18 9 54 
12 x16.6 5.2 30144 | 16x23 7.2 57.2 20x19 9 57 
12 x18 5.2 33 16x24 gies 60 20x20 9 60 
12 x19.6 5.2 35.3 17x15 8 40 20x21 9 63 
13.6x13.6 6 27 17x16 8 4214 | 20x22 9 66 
13.6x15 6 30 17x17 8 4514 | 20x23 9 69 
13.6x16.6 6 33 17x18 8 48 20x24 9 72 
13.6x18 6 36 17x19 8 50% | 21x15 9.2 47.2 
13.6x19.6 6 39 17x20 8 5344 | 21x16 9.2 50% 
13.6x21 6 42 17x21 8 56 21x17 9.2 53 5-6 
14 x14 6.2 3014 | 17x22 8 582% | 21x18 9.2 57 
14 x15 6.2 32.2 | 17x23 8 6144 | 21x19 9.2 60.1 
14 x16 6.2 83434 | 17x24 8 64 21x20 9.2 63% 
14 x17 6.2 37 18x15 8 40 21x21 9.2 66.2 
14 x18 6.2 39 18x16 8 421%, 





Page Seventy-six 


INDEX. 


PAGE, 
Art Loom Rugs, . : : : : ; ; : : sets I 
ArT SQUARES, ; : ; : : : ; : ant 
AUBUSSON CARPETS, : : ‘ ; : 5 Pte : Pama lh¥ 
AXMINSTER CARPETS, . ; é : : : : : O1, 62 
BATTEN, ; : : ; ; ¢ : ‘ : : ee 
Beam, ; ; ; ‘ : : ; ; ; : ee? 
Bossin, : ¢ : : : : : : : ; avekey) 
Bopy BRUSSELS, . ; : ' : : ; ; 62.63 
BRUSSELS STOUTS, . ; : ; . : SOE 
CARPET MEASURING, CUTTING AND Pane : : ; ; ee 
Carpet Motus AND BEETLES, PROTECTION AGAINST, : Wore 5a5 54 
CEMENT FoR LINOLEUM, : : : ; ; : mo 
CHAIN, . : 5 : : : ; ; : ‘ ee OF 
CHAMBER, FRONT, Naess ; ' : ¢ ; * 16,17 
S GUEST, a ; : : , , : R253 
CuHInA MatTrtTING, . : , : : : : , : ee 7O) 
CHurRCcH, MEASURING, . ; : : : : ; 26, 27 
CiotH Beam, ; ; ; i: 3 ; ‘ : ae ex: 
Cocoa MATTINGS AND Mats. ‘ : ; : ; ; - 63, 64 
CoLor, COMPLEMENTARY, .. : ; : ; : ; im Of 
if PRIMARY, . : ; Z F ; : ; : - 64 
“SECONDARY, : : ES as . : ; : <i OF 
ee SL ERTLARY |. ; : : : ; : ; ster OF 
Cos, . : ; I : : : : : : : aa Ot 
Cop, : ; : i : F ; ; : : i Cia 
Cop TuBe, . ; ; : . . ‘ : . ; On 
Cork CarPET, : ; ; : ; . : : ; 2.64 
CoTToN CHAIN, . : : ; : 5 ; : 245.06 
DICTIONARY OF eee OTHER FLoor CovERINGS, AND TRADE 
TERMS, . ; : P ‘ ; ‘ : 61,74 
DIAGRAMS FOR CARPET Mosk can int : ; 4 £3748 
Drop Box, . : : ; : : : ante On 
Drop AND Set PATTERNS, 64, 65 
ExtTRA SUPER, ‘ ; ‘ : ‘ soNeeees : : OS 
FIBER CARPET, : . ; . : : , : : gOS 
FILLING, : : F +. 4.68 
First FLoor oF A Sen ay Panes eannts : ; : 36, 37 
First Ftoor oF AMERICAN BASEMENT House, MEASURING, . PH20: 21 
FLoor O1r CLotTH, . ; } : ‘ d ; : A Os 


Page Seventy-seven 


Index—Continued. 


PAGE, 
GRANITE CARPET, . k : ‘ : : : BS 
HALLS oF UNUSUAL SHAPE, wee tiie : é . 14,15, 16,242 
HAND-TUFTED RuGs, ; . : : : : 65, 66 
HARNESS, , ; ; » 66 
i FRAME, : : ; : Bier io) 
* SHAFT, . ’ ae 
HEALD oR HEDDLE, . ; : . , ; SOO 
Meer ae: : : é ; ; ; ES 
Hemp CARPET, ; ; ; 6 
INGRAIN CARPET, . : x 66, 67 
JACQUARD, : 4 : 4 : : : ; , ‘ : ra 
JAPAN MaArrTING, . : ‘ , : . Peewee 
JuTe INGRAIN, : é' A : 2 : ape 63 
KIDDERMINSTER, . ; ; : : - ag 
KILMARNOCK, : : ; 4 : : ‘ ; : : 7 
Lay, , ; : mee oy, 
LAYING CARPETS, . ; ; a Tt pee eae 
LAIGNITECT, © =. , : fig ; aS ay: 
LINOLEUM, . : : : ‘ ‘ : ie 20a 
LINOLEUM, How To LAY AND CARE FOR IT, . par Pe 48, 49, 50, 51 
Loom, . é : : os 
MEASURING FOR CARPETS, ; : ; 3742 
MoQueETTeE CARPET, . ; eee 
NAPIER MATTING, . , ; ; ; ; Less 
ORIENTAL RucGs, . % ; ; n.60 
Ovat Room, MEASURING, he ; : 38, 39 
PARLORS, FRONT AND BACK, Micenerte. : : 30, 31 
e ‘Main HALt AND EXTENSION, Vis Sunes ; : 10, II 
PATTERN CARD, s : : : . : : : : Jr 2305 
CHAIN, . : ss , rt OO 
PICK : : : ; < oe 
PICKER STAFF, ; ; ; : ; : : . 08 
Pro-BrUSSELS CARPETS, . : 4 ; : . ert 
RaG CARPET, , : : : ; ; : : : : 70 
REED, ‘ . ; F Seeeroh 
Race Weeee, FROM apes OF eles: AND BorDER, : ; 50, 60 
SALOON, PARLorR, MEASURING, : ; 4 : : ¥ e350 
SAVONNERIE, . , é 4 ; : : a ; eo 
ScotcH ArT Rugs, b ‘ ey fe. 
SECOND FLoor oF AMERICAN eee: Hagar Ne ; 22.38 
SECOND FLoor oF SEASHORE House, MEASURING, . : ; 3233 
Set PATTERN, : : P ; : : ‘ ; : : 70 
SHADE, . é ; : : : ‘ f - : ; ea 
SHUTTLE, : i : é : : : , : ~ 
: Box, 5 s : : : : : : Aes 


Page Seventy-eight 


Index—Continued. 


SHUTTLE, RACE, 

Sxin Rucs anp Marts, 

SMYRNA RuGs AND CARPETS, 
SPROUTING OF CARPETS, 

STAINS FOR FLoors, 

Stairs, WINDING, See 
STEAMSHIP, SALOON, MEASURING, 
Straw MATTING, 


PAGE. 
71 

71 

an eT 
55,56 

46 

34; 35 

18, 19 

71; 72 


TABLE SHOWING Oe ey OF BaDee AND Beeps REten FOR 


CARPETS OF GIVEN SIZE, 


TABLE SHOWING How CARPET hereon Fret Ee eur to AD- 


VANTAGE, 


TABLE SHOWING THE OC tns OF 3-4 EN IS: REOuteD FOR 


RooMS OF VARIOUS SIZES, 
TAPESTRY BRUSSELS CARPETS, 
TEMPLE, : 
THEATRE, MEASURING, 
THREE-PLy CARPET, 
TINT, ; 
TREATING one FOR Rucs AND Gee 
Union CARPET, 


Uses FOR ODDS AND Pens OF Giareanes MarTING, ETCc., 


VELVET CARPET, 
VENETIAN CARPET, 
WARP, 
6e 
WEs, 
WEFT, 


14 


BEAM, 


Fork, 

WILTON CARPET, : 
Winbow SHADES, rine TO ENG: : 
Woor, ; 

Woo. DutcH elo 


eau 
72,73 
73 
28, 29 
73 
os 
43, 44, 45 
O07 
57,58 
73 
7 
74 
74 
74 
74 
74 
64 
50 
74 
74 


Page Seventy-nine 


The 
Carpet and Upholstery 
Trade Review 


ESTABLISHED 1870 
The Leading and Oldest Publication in the Trade. 


Devoted to Carpets, Rugs (Domestic and Oriental), Linoleum Floor 
Oilcloth, Matting and other Floor Coverings, Upholstery Goods, Draperies, 
Lace Curtains, Decorative Schemes, &c. 


Published the Ist and 15th of Every Month. 
SUBSCRIPTION, $3.00 PER ANNUM. 


The 
Furniture Trade Review 


and 


Interior Decorator 


ESTABLISHED 1880 


The Standard Journal of the Trade and the Best 
Medium for Advertising. 


Issued on the 10th of Every Month. 
SUBSCRIPTION, $1.00 PER ANNUM. 


Publishers : 
REVIEW PUBLISHING#= ga: 
31 East 17th Street = New York 


Page Eighty 


Index to Advertisements. 





AMERICAN FrsprE MATTING CoMPANY, 
ARNOLD, CoNSTABLE & Co., 
BoLLENTIN & THOMPSON, 

Cook’s TROLeUM. 

DeutscH, RUDOLPH, 

ELLIS AND SPARTAN RuG FASTENERS, 
FERDINAND, L. W., & Co., 

Pane bo & G, & Co,, 

HartFrorp CARPET Company, 
HocxripGe, WILLIAM G., & Co., 
HopcEs Fiser CARPET COMPANY, 
HorstMANN, WiiiiAM H., & Co., 
wameon, F.1Os:&-Co., 

Knapp Rupper BINDING CoMPANY, . 


LINEN THREAD COMPANY, 


PAINESVILLE METALLIC BINDING CoMPANY, 


Persian Ruc MANUFACTORY, 
Scotr & West. CoMPANY, 
SHoarr J. Ro & Co., 
SILVER LAKE CoMPANY, 
SINGER CARPET MACHINES, 
Witp, Joseru, & Co., 


Witcomse, McGEAcHIN & Co., 


Third of Cover 
O4 
97 
95 
97 
82 


O4 
87 


Second of Cover 
84, 85 
85 


Page Eighty-one 








Hartford Fabrics 





CARPETS AND RUGS 


MANUFACTURED AT THE 








HARTFORD MILLS 


THOMPSONVILLE, GONN. 








HAVE AN ENVIABLE REPUTATION AMONG 
THE TRADE THROUGHOUT THE UNITED STATES 


@. For over seventy years hands and brains have 
been manufacturing carpets among the most 
favorable environments— that of a New England 
village. Many ideas that are exclusively * Hart- 
ford” are embodied in the machinery, while the 
newest ideas of the world’s inventors have always 
found a ready market at the “Hartford” mills. — 


The best designers and color experts to be 
obtained work on Hartford fabrics, while the 
choicest of wools are used in their construction. 


G. It is thus this constant care and honest effort 
to be the peer of American manufacturers 


has been rewarded. The Hartford Garpet 
Gompany stands without an equal today. 


The Hartford Carpet Co. 


Salesrooms: 41 Union Square New York Gity 





Page Eighty-two 





HE MOST ATTRACTIVE, durable and economical floor 
coverings ever made are our WOOL AND ROPE-STOCK 
rugs. These rugs are reversible, odorless and can be ob- 

tained in all the staple sizes and a variety of patterns and colorings. 


: | t 


JWISTWEVE 


BM Trave.Mark Reg. U.S. Patent applied tor 





A beautiful rug of extra heavy weight, handsomer than any carpet, 
except the most expensive. Two-toned effects in several beautiful designs 
and the following color combinations: 


Indian Red with Cream 
Indian Red with Tan 

Tan with Brown 

Light Tan with Light Blue 


Light Green with Tan 
Delft Blue with White 
Dark Blue with White 
Medium Green with Dark Green 





RENTON 


An excellent rug, with good, rich 
coloring, suitable for use all the 
year round. This quality is less 
expensive than Twistweve and 
will give excellent satisfaction for 
general wear. 


7 REMONT 


A rug of sterling merit at a very 
reasonable price. The Tremont 
quality costs no more than an or- 
dinary straw matting. Looks 
much better and lasts twice as 
long. 


ROPE-STOCK RUGS 


These rugs, while less expensive than the wool and rope-stock, are 
very attractive in appearance and give good satisfaction in wearing quali- 


ties. Made in two grades: 


ORRINGTON 


The best quality of all rope-stock. 
Looks better and wears better than 
straw or grass matting rugs, and 
is absolutely odorless. 





) pee | 


IVERTON 


An all-rope stock rug of very 
moderate cost, but good in color 
and design. The best looking 
floor covering ever offered at the 
price. 





WOOL: AND ROPE-STOCK CARPETS 


by the yard. Similar in construction and material to the wool and rope- 


ROPE-STOCK MAT TINGS 


in two qualities, Foxboro and Falmouth, corresponding to the rope-stock 


stock rugs. 


rugs. 


you to the nearest dealer. 


If you cannot find these goods, we will send information and refer 








AMERICAN FIBRE MATTING CO. 


141-147 FIFTH AVENUE, NEW YORK 


MILLS: Lawrence, Mass 





Page Fighty-three 


SUPERIOR ATTRACTIVE EXCEPTIONAL 
Fs DURABILITY 


QUALITY PATTERNS 


WILD’s LINOLEUMS 


THe ORIGINAL AMERICAN LINOLEUMS 





INLAIDS 


8-4 and also 16-4. 
INLAID BORDERS 


9, 12, 18 in. widths to match wood effects. 


PRINTED 
Three grades, 8-4 and 16-4 widths. 


PLAIN 


All grades, three colors. 
PASSAGE CLOTH 
5-8, 8-4, 4-4 widths. 
GORK CARPETS 


Best grades, five colors. 


GRAINED PLANK 


Showing the true wood grain. 


BATTLESHIP 
Standard adopted by the U. S. Government. 


JOSEPH WILD & (©. 


SOLE SELLING AGENTS 
366-370 Fifth Ave. 


NEW YORK 
285 Summer St., BOSTON 242 Adams St., CHICAGO 











Page Eighty-four 


JOSEPH WILD & Co. 


MANUFACTURERS OF —— 


SMYRNA RUGS AND CARPETS — 
Three Grades—Astoria, Alhambra, Columbia. 
Superior Quality—ALPHA—Solid Color—Three Tones. 
Plain Mottled—AMOOR—Four Colors. 








ARABIAN AND ALAMO CARPETS 
re eta. Pro- eee Aiea cee All Carpet Sizes. 


COCOA MATS AND MATTINGS 


Plain, Fancy Striped and Bordered Mattings. Cocoa Mats of All Kindsand | 
Sizes. Wool Lettered and Automobile Cut-Out Mats to Order. 


SHEEP AND GOAT SKIN RUGS 
Mounted and Unmounted Animal Skins. Baby Carriage Robes. Fur Robes 
and Coats. 


FELTINGS OF ALL KINDS 
—————— IMPORTERS OF 


CHINA AND JAPAN MATTINGS 














JAPANESE WALL PAPERS 


Burlaps. Grass Cloths. Embossed Leathers. 


ORIENTAL RUGS AND CARPETS 





INSERTED FIBRE COCOA MATS 
CALCUTTA COCOA MATTINGS 
- =-SELLING AGENTS FOR 


CELEBRATED “ WILD’S” LINOLEUMS 














CARSON’S WILTON RUGS 











NEW YORK ; CHICAGO BOSTON 
366-370 Fifth Ave. 242 Adams St. 28 Summer St. 


Page Eighty-five 


Uitcombe, McGeachin 
& Company 


874 Broadway ew Work 


Special Rugs 


Made to Any Design, Color and Shape 
Donegal and Austrian Mand=tutt 


Real Scotch Hrminster 


Samples, Designs and Estimates on Application 


ritish Art Carpets 


“Caledon” “Garland” “Halcyon” 
“Maytlower”’ 


These are the latest productions of Alex. Morton & Co., 
and far surpass in merit all their previous efforts 


“Sfaines Inlaid Linoleum 


The most extensive and varied line in the world 
The Mosaic and Marble Effects are particularly interesting 


H large stock carried in ew Work and Chicago 
at the same prices 





Page Eighty-six 


Fiber Floor Coverings 


originated with us, and we now manu- 
facture the most complete and salable 
line of these attractive fabrics on the 
market. 






Our 


HOF“ KABA 


ALL FIBER WOOL AND FIBER 


Rugs, Mattings «n« Art Squares 


-are well and favorably known 
throughout the trade. 


We would ask your special atten- 
tion to the NEW DESIGNS in 


this line. 


Don't fail to see our popular TWO 
TONE KABA RUG—made in 
soft greens, browns, blues and 
reds. 


No sweeter or more sanitary floor 
covering may be had than our 
HOFI MATTINGS in their 


various grades and designs. 


arate Fiber Carpet Co. 


335 Union Square 





New York 










Page Eighty-seven 


J.R.SHOAFF & CO. 


Sole Selling Agents for 


JOHN BROMLEY & SONS’ 


Smyrna Rugs and Carpets, All Sizes 
Axminster Rugs, All Sizes 
Kazak Seamless Rugs, All Sizes 
Atlantic Bath Rugs, All Sizes 
AA Special Royal Seamless Rugs, All Sizes 


ET TRICK MILLS 


Body Brussels Rugs, All Sizes, and Carpets 


FIRTH CARPET (G@ss 


Excelsior Velvet Seamless Rugs 
8.3x10.6, 9xI2 and $1.3xJI2 Sizes 


HENRY MACAULEY’S 


Full Standard Wool and C. C. 
and Art Squares 


935 Broadway, New York 
$207 Heyworth Building, Chicago 





Page Eighty-eight 





BARRY’S 
SCOTCH LINOLEUMS 




















Walton Patent Inlaids 


A clean-cut, non-porous fabric, wearing like real 
tiling. Always bright and easily cleaned. 





Plain Linoleums and Cork Garpets 


Superfine quality, close texture and_ finish. 





Battleship Linoleum 





In various colors as supplied world’s navies. 


The best made. 


Printed Linoleums 


Highest grade materials in stylish, novel and 
original patterns. 


Pee. >. LINOLEUMS LAY SMOOGFHLY 


MNO TRVENLY. NO AFITER-FROUBLE 
WHEN GOODS ARE SOLD. 









Linoleum Gement 


We furnish a high grade cement that sticks, 
is easily applied and proof against putrefaction 
and the action of humidity. Made up in con- 
venient size cans and low priced. Free sample 
on application. 








SCOTT & WEST CO, Agents 


133 FIFTH AVE., NEW YORK 






Page Eighty-nine 





Patent Rubber Bindings 


FOR MATTINGS, CARPETS, ETC. 


“BIND THE RAGGED EDGE” The many advantages of this 


REG. U. S. PAT. OFF, binding give it the preference 
Over any other heretotore used 
on Mattings, Carpet and Rubber 
Runners; will not break when 
shaken or thrown about; will 
not deface tiled or hardwood 
floors, is durable and easily ad- 
PATENT RUBBER BINDING  justed, being: perforated to fa- 
cilitate sewing it upon fabrics 

on which it is to be used; the most inexperienced person can 
sew it on perfectly. 

The Rubber Binding is most desirable in 6-4 and 8-4 
iengths, as they can be cut to stock sizes. 

Cut the 6-4 for 3-4 and cut the 8-4 for 2-4, 4-4 and 5-4. 

Specially prepared Thread and Needles. 

All bindings marked K. R. B. Co. 























































































































Patent Rubber Nosings 


This valuable invention supplies a durable Stair Nosing not 
affected by dampness; will give serviceable wear, iS noiseless 
and will prevent slipping, which is so dangerous where metal is 
used. One of the profitable fea- “ ANTISLIPPIN ” 
tures in the use of the nosings 
is the opportunity they offer for 
disposing of linoleum, cork car- 
pet and oil cloth remnants for 
plates on the stair tread. 

Made in two grades, Rever- 
sible and Non-Reversible, and in 
04, 72 and 90 inch lengths, 


REG U.’S. PAT. OFF, 





















































which can be cut to stock sizes. USE 
Cut sizes, 15, 18, 20, 22%, ah PATENT RUBBER NOSING 
27, 30, 36, 45, 54, 60, 63, 66, 72 FOR STAIRS 


and 90 inches. 

How to Use: Insert cloth lip under plate, butting the plate 
and nosing, and tack down; tack the under lipto keepin place. 
Special Nails for tacking on the Nosings. 


Knapp Rubber Binding Company 
31 East 17th Street NEW YORK 


SAMPLES FORWARDED FREE OF ALL CHARGE 





Page Ninety 





P. O. JUDSON & CO. 


JJ4-J16 Fifth Avenue New York, N. Y. 


Rixdorfer Parkett Floor Covering 


(The only ‘‘True to Nature” Parquetry Inlaids.) 


PLAIN and PRINTED LINOLEUMS 
KILMARNOCK SCOTCH ART RUGS 
ASCOT MOHAIR PLUSH RUGS 
NOVELTY COTTON RUGS 
HAND-TUFTED RUGS 
LINOLEUM WAX and CEMENT 


Kilmarnock Textile Mfg. Co., Philadelphia, Pa. 


KILMARNOCK RUGS sell all the year round at an Oriental Profit 


The KILMARNOCK is fe i 

1 the only real Scotch weave ie 

oa rug made in America. Hy 

“YAN Both in quality and weight = 
, l \ 4 it surpasses the Scotch | 


| \\ tugs themselves. New f : 
iY oo 
» and distinctive prua 
wy 





rae: JUDSON & cone Sole Selling Agents 


114-116 Fifth Avenue, New York, N. Y. 


Page Ninety-one 











Arnold, Constable & Co. 


Wholesale and Cut Order 
Carpet Department 













Lowell Wiltons Lowell Brussels 
Middlesex Wiltons Acco Brussels 
Comanche Wiltons Astoria Axminsters 
Bigelow Axminsters Smith 6000 Velvets 


Every pattern strictly private and original, com= 
prising designs and colorings adapted to 
the most exacting taste. 


Plain Fillings in every pile fabric, 150 shades. 








Broadway and 19th Street, New York 





Order from Stock Don’t Disappoint Customers Avoid Delay 


YOU BUY VELOURS FROM STOCK— 


WHY NOT TRIMMINGS? 


Send us Clipping of Goods, State Quantity Wanted, and 
our Reply will Quickly follow with Sample and Price. 


We constantly have on hand: 





Silk Openwork Borders collMe,, Metallic Galoons 

Mercerized Cut Edgings 4 ¢ SAS Cretonne Edgings 

Furniture Cord SA arts Cretonne Borders 

Furniture Gimps pg “@r° Slip Cover Binding 

Ball Fringe >, aoe aoe Silk Bullion Fringe for Velours 
Rug Fringe OE yaaa Silk Corded Binding for Curtains 


Silk Tassel Fringes for Armure and Drapery Silks 

Antique 2% inch wide Openwork Borders 

Cut Silk Edgings for Armure and Damasks 

Cut and Uncut Edgings for Shikii and Plain Silks 

Cotton Tassel Fringes for Scrims and Printed Cotton Goods 
Carpet Binding in all Colors 


WM. H. HORSTMANN COMPANY 


Factory and Main Office: New York Salesroom: 
Fifth and Cherry Streets, Broadway and Grand Street. 
PHILADELPHIA, 





Page Ninety-two 





Rugs Made To Order 


Chenille Axminster 
Austrian Hand Tuft French Savonnerie 
Dutch Hand Tuft French Aubusson 


Specialists in these lines since 1884 





Rugs made seamless, of any size or shape, no matter how 
peculiar. 


Rugs made entirely plain or in any design—yours or ours. 


Rugs made any colors—the dyes being absolutely fast. 


P ERSIAN RUG MF nes BROADWAY, New York 
a ee ee ee ae 


OVER FORTY YEARS’ EXPERIENCE (ABOUT TWICE AS LONG AS 
ANY OTHER MANUFACTURER’S) HAS TAUGHT THE 


me VER LAKE CO. 


HOW TO MAKE THE BEST POSSIBLE 


UPHOLSTERERS’ CORD 
SHADE CORD 
Solid Braided ; AWNING LINES 
Sa peerage goers URTAIN CORD 
eae ETC. 


And for carpet sewing machines our 12 A (with the name on the cord 
as our guarantee) gives unequaled service. 





Write for Samples 


De. WINNE Co. ) ( HENRY W. WELLINGTON CoO. 
124 Worth Street . + + AGENTS , . 78 Chauncy Sireet 
NEW YORK BOSTON 


Page Ninety-three 


¢ 


eee oN yell RS NS AIRS ALLER CL aa 


WM. G. HOCKRIDGE & CO. 


SOLE SELLING AGENTS 
FOR . 


SCHOFIELD, MASON & CO.’S 
Wilton and Brussels Rugs 
AND 


Saratoga Bath Rugs 
AND THE 


ARTLOOM RUG MILLS’ 
Alexandria, Roubaix and Almeda Rugs 


ok Va 


7 and 9 East 20th Street New York 
Sept pal ope gol ego yal epeel parle pot pad ogee pad 


CoameMyor I puyol pel parlB poh parFS puN yo 
SP epee pal ego sol epuN sod egoel pal prepa 


¢ 


PO RG is ke U GS Austrian, Algerian, Mourczouk, Mongolian 


Superior Values in Styles as well as in Quality. 
(COCOA) ALL SIZES. 


MATTINGS Patented Monopole Cocoa Mattings 
) 








We show the handsomest effects in Designs and Colors 


(COCOA ever offered. 
BATH MATS AND RUGS | CARPET BACK BRUSH MATS 
Imported, two qualities. Guaranteed | Plain and Bordered. 
washable. | Special Sizes for Autos and Vestibules. 
ENGLISH MOHAIR RUGS =“ FRENCH VELOUR PORTIERES 
Standard and novelties, Double Face. Hand made. Allcolors, Alistyles — 





CROWN BRAND LINOLEUMS Inlaids, Plain Colors, Ete aes Granites, 


Exclusive styles. Four grades. Manufactured by the 


ERSTE OESTERREICHISCHE LINOLEUM FABRIK 


The factories are the largest and best equipped works in Austria 


RUDOLPH DEUTSCH 


SOLE SELLING AGENT 


66 to 72 Leonard Street, = NEW YORK 





Page Ninety-four 


BOLLENTIN & THOMPSON 











_ Sole eine eae Agents for 


(inzkey’s Hand-Tufted Rugs 


Made to order in any special size, design or coloring. 


AUBUSSON, CHENILLE AXMINSTER 


and 


INDIAN RUGS AND PLAIN WIDE CARPETS 


carried in stock. 








——$<_<_____. 


34 Union Square East, New York 














20™ CENTURY 
LINOLEUM GLUE-CEMENT 


Best for The 
Following 
Reasons: 


For Cementing 
All Kinds of 
Floor Coverings 
To All Kinds of 
Floors 


Used and recommended by 
the leading houses of the 
trade, and adopted by the 
U. S. Government. 


It is absolutely ready for 
use, requiring no heatit ng or 
thinning, Being in liquid 
form it “will cover more sur 
facé than other cements It 
dries in 48 hours. Its sticks. 
It is very tenacious and 
tough. It is waterproof. It 
is not subject to decomposi- 
tion 





SEND FOR FREE BOOKLET WITH FULL 
DIRECTIONS FOR LAYING LINOLEUM 


L. W. FERDINAND & COMPANY 


eee UU TH ST REE To 3B OS 1ONG 2 Us Asis 





Page Ninety-five 








Page 


WRITE WRITE 


Oriental Rugs and Carpets 


The latest and best handbook for Rug Buyers and Salesmen. 
Full descriptions and illustrations of every kind of Oriental 
rugs andcarpets. 130 illustrations. Price, $1.50 postpaid. 


The Upholstery and Drapery Guide 


A complete handbook for Upholstery Salesmen and practical 
Upholsterers. Descriptions and illustrations of the Period 
Styles. Schemes for draperies and furnishings, etc. 
Over 500 illustrations. Price, $2.00 postpaid. 


History and Manufacture of Floor 
Coverings 


Describes the manufacture of every fabric used as a covering 
for floors. 46 illustrations. Price, $1.00 postpaid. 


The Carpet Workroom 


A guide for Measuring, Cutting and Laying. A dictionary descrip- 
tive of all Floor Coverings and other useful information for 
salesmen and carpet upholsterers. 22 diagrams and illus- 
trations. Price, $1.00 postpaid. 


Fundamental Principles of Decoration 
Price, 10¢e. 


Published by 


RE VIEW PUBLISHING CO. 


3l East 17th Street, New York 


WRITE 


For our up-to-date Sample Board of BRASS NOSINGS, 


PLATES and all styles of BINDING for Linoleum, 
Cork Carpet, Matting, etc. Sent by express, prepaid. 


PAINESVILLE METALLIC BINDING CO. 


Established 1885 PAINESVILLE, OHIO Incorporated 1904 


Ninety-six 





The “ELLIS” and “SPARTAN” 


RUG FASTENERS 


——— < The Ellis No. 2 


Made oval to prevent wearing of rug 
when trod upon. 


Price per Gross, $5.00 net. 
The ‘“ Spartan” 


Easy for the workman. Simple and 
inexpensive. 


Price per Gross, $3.25 net. 




















MANUFACTURED BY 


KINGSTON & ELLIS GOMPANY 
Roxbury, Mass. 


The “Spartan.” 








HAAG OIL CLOTH ANIVES £:,%6. HAAG & co. 


170 CENTRE ST., NEW YORK 





a 


in 
Nil | 
| 


i 







hl 


Price 
\ $4.00 
#4) Per Dozen 





SS 
































N33 OL] = 
‘Oe 







uy 
EAT 





ee} 
‘02 






























































oN = 
= JS 20 0) SaaS 7 
0) vow v3 SS ZB 










































































Hand 
Forged 





























Highly 
Tempered 


Each Blade 
riveted to 
handle and 
will not pull 
out. 





No 6 


No. 4 
Our No. 4 Oil Cloth Knife with Short Blade Cuts Heavy Linoleum without effort or strain 


Page Ninety-seven 





Carpet 
Threads 


















for 


Hand and Machine 


BARBOUR’S 
KNOX’S 












MARSHALL’S 


THE LINEN THREAD CO. 


96 FRANKLIN STREET 
NEW YORK 


BOSTON CHICAGO ST. LOUIS 
575-577 Atlantic Ave. 154-156-158 Michigan St. 414 No. Ilth Street 
ROCHESTER CINCINNATI SAN FRANCISCO 
115 Mill St. 118 East 6th Street 443 Mission Street 
BALTIMORE PHILADELPHIA 


Lombard and Calvert Streets 410 Arch Street 


Page Ninety-eight 


. 
45 
# 
i, 

é q 
: 








INLAIDS 


PRINTED 
PLAIN 


| ZN GRANITES 


ORK GARPET 
COOK’S VENEERING 


The Name GOOK’S is a Linoleum Guaranty 


Gook’s Linoleum, Trenton, N. J. 


New York, Hartford Bldg., 41 Union Square. Boston, Oliver Bidg., 141 Milk Street 
Chicago, Lees Blidg., 147 Fifth Avenue 


Manufacturer of COOK’S Table Oil Gloths and Enameled Cloths 





GETTY RESEARCH INSTITUTE 


ME EA 


3 3125 01197 7200 ; 


og rates oat sbg rpg gti iis feist ed pea ae began pede he pp pe TSS poeta rane ne stew st tt ge a pignst tps! 
PoP Ae pe Face Pa dey Fa operate: “os apeast-ecacsnssbe rer aes 
oa tote retecere? 
steer erec ire pieteie ss 
reset 
.— - SEE, . . = 5 state Sto ty tees 
= Stee 337: 
5 


Beste’ Sea cata ter ts 
Setesis —t. ; 
ertasetss a= 
bye Nery pays a mere eee pepep eye ace fetiteieie sy pi oges ese: Sigteheleteceseese . 


steko hpi pestatats uta sSaletotstetataleteetenst 
SSE eae phates geet 


see 

peeeess paeeees 

Salesetedehabatsecteee! Setahctes 
satae $rabaeiasoreantaiess as 
etereer ere’ 


Sos} 


—. ome se evens 
Sete te eet eT 
esetet gti 


+ ee — 9 me ee 
eabessestoces os 
HERES REE See. 


oe oe 6 Oe 


tte 


ebebasthas TF 


ihe 


i 
a 


<eSerery lie. 


SSerieararere. 
Frere ety ee ly Tete Tete! 


ore poy mene tesenes 
eaipeersreme es = 


rezenes 


Srtrtatrtononstbca toneceregi res 


nee le rae peer tear Hors 
> <== soe padateederes 
wink 6) nbn 926 be set ieetr eee 

eye ere a tase ees 


ee ee eS 
Ritelis tat atansners 


Sauete cats 
errceces 


$3 eso ae~ 
Spits tase e- pats te eee, 
earerete tres 

sons eu tesen ee = eBis ~ote alate re 

mo — vigty tty ete dere te eee ee 

PEPE LETS L SAE Ie Een 3. S 


pepe i re Be oes ee eee 


ene pee sob nel ere res 


= 
Sele et oleae ote le Tele 


ross 
ogi! 


tn tees caters 


FS wes 
tone eer eer dtd ene 
sire ©. Caeser he epepe eres 
es Pr Ser pens 


pos 


i Fac SSH 
Ratst gkots tet tatetets plete SG ROES 


prpeceeees 
Ton 


cates 
erupt eter teatro er eeer eer 
eS 


ease? 
SIESS SEIT 


tie elpeta serena os 
foede eens 


reartsipri4 
fete cis ite 


Peritareritartap riser tetos 
ces par bay errs Dre 
Coes 


ents tees 
A ae ge a ow ee ey 
zareieia? via. ppret sth pe seas 


{PFS PES LILI RULE PL SEES Mesesetae tis 
SEE EIEIO SESE iaerre 
parties. 


Tete 
porornres 


sec lece eles 


ee esis, 
Speed 


Sa letets. 
nee Cpemieceieisises 
Soares Cotp te nine ore ae ot pees be. 


at yar Sister. 
ee eetre tb wre g—, iret Srerererers 
erecta Pad iS peptic mevieeeesay «2 = 


2} 


Ot 
Alaa 


oer 
ESS SS ee 
ob wirerace fete a tee Seka. 


EPS alee perry ieee 
= ieain Pest beseearabere 


ete 
voter e—e: 


peprees 
prrpeseed 


Sear astetaet tre 
etastts tatee 


SESE SPEED Base OREIE BOP IBESE cocatecasees sate os > : : Z reosyst iy Raye os 
rs : =. tn eas SH pas ott seater tad 

terete ti esra lat ele ts a regsry ee jepenbeny oye ererprs ew desarhees a =P. aracae 

: = st 3 Bae, Tetgercs tas : 


eeaae felis 
rpeetate aa poate Bestar eee pemeestse ee cesee 
Peaee tates = pissetstststatenst dries 2 = ssoabess Spates sreeets 


; 


sSatct = 
durbinetssrsnriepereetene spa : 
Spiiciigisissetstetets tesetecpei seat tee heace tees 
jeer: =! ar itepersts 
epietiss 23 rSezste bets Tee, 
Sriepreisosceesssssrse of! 
septetatststarerseseiteee eee esters To Ss: 
ereithtmststsspiee eset eseeees pietsersstesss ik : 
Paleretitets aka teestata Dateteses ts 7.7.3 ~- PUD ER Gaeta iree 5 ttet oe SOEs: > 5 = = 7 Rese 
£ pare ee ees Prseretet $y: Shae : +b Soe 
eet ryny aces ey Fp econ peices eye a Se Dibase ba bested beso eter ee ety = * stotiete SSeS 
ss seat pare eesti ate tyes Fore tyn sy anos A ES 
=> 53> Fab Or) et aeee trest one 6: = o> 4 out? ™ 

possperesios tage’ ess7s SiS SERS SH RAGE HES: ots 

eiitiese eet: = tate Bist geat cestee $3 
SStatitatatorat stcterocctstotetore: serene ieacteetftitstas asistatereserrseseettoioseats 


* 
ertotctontesecay 


eetetaes 
pies 
Tones eat pie re ane 


sptiopiisbehesoheecy 





